BsBBBBBBi 
H9HH9B 



HBHui 




LIBRARY OF CONGRESS. 



1 



ffljpqu @ij|ajrxg)ji Ifta 

Shelf ..P N.4 \ \ I 

UNITED STATES OF AMERICA. 



COMMON 

SCHOOL ELOCUTION. 



A MANUAL OF VOCAL CULTURE BASED UPON SCIENTIFIC 
PRINCIPLES PHILOSOPHICALLY PRESENTED AND 
FULLY ILLUSTRATED WITH APPROPRI- 
ATE SELECTIONS FOR READING 
AND RECITATION. 



DESIGNED FOR 

Common Schools, Academies, Colleges and 
Private Learners. 






I. H. BROWN, 

Superintendent Public Schools, Edwardsville, 111. 



• 



ST. LOUIS: 
PUBLISHED BY THE AUTHOR. 

1882. 



THh-w* 



C&lS** 



Entered according to act of Congress, in the year 1882, by 

I. H. BROWN, 

In the Office of the Librarian of Congress, at Washington, D. C. 



St. Louis : BecTctold cf- Co., 

Press of Nixon- Jones Printing Co, Book Manufacturers. 



PREFACE. 



This book is presented to the public in obedience to 
that trite commercial maxim, " The demand will sum- 
mon the supply." 

The need of better readers and speakers was never 
more urgent than now. 

Deficiency in expressive reading and effective speak- 
ing has been observed and deplored for years. 

An impression has prevailed that clear, strong sense 
reading is a natural endowment, and therefore unat- 
tainable by those not favored by nature. This im- 
pression is strengthened by the fact that the daily 
study of readers, arithmetics, geographies, grammars, 
etc., by our youth, — all requiring the exercise of 
reading, — gives them but little skill in rendering the 
thoughts contained on the printed page. Let it be 
remembered, however, that the energy of this daily 
exercise, from the Primary department upward, is ex- 
pended upon the mere naming of words, with little or 
no expression of their related significance; that the 
teacher, in most cases, is the text-book, and that few 
text-books go far beyond rules for inflection, emphasis 
and pauses. 

A similar idea regarding writing formerly had many 

cm) 



IV PREFACE. 

advocates. Commeicial Colleges have effectually ex- 
ploded this theory by proving that rapid, easy, grace- 
fill writing is the result of skillful instruction, based 
upon a well defined method, and that it is attainable 
by all who are capable of receiving rational instruction. 

Within the last ten years schools of oratory and 
many institutions of less pretentious title have demon- 
strated the assertion that, "Good reading is attain- 
able by the masses." 

The experience of the author with boys and girls 
shows that by the same method of instruction employed 
by professional readers, children are capable of be- 
coming good readers in a shorter time than adults. 

The question now arises, " How can these methods 
be so presented in text-books that the untrained 
teacher can secure the desired results." 

In the preparation of the present volume this ques- 
tion has constantly appeared at the head of each page. 
How far it has been answered will appear from a con- 
sideration of the following statements : — 

1. The act of reading aloud depends, first, upon a 
copious supply of breath under the control of the will ; 
and, second, upon a clear, pleasant and decided articu- 
lation, the process of which appears to be no part of 
the reader's concern. To secure these requisites, ex- 
ercises have been imposed that render progress in 
pages impossible till principles are mastered. 

2. The exercise of reading is a continued applica- 
tion of the laws of logic ; therefore, the first step in 
securing intelligent reading is to lead the pupil to dis- 



PREFACE. V 

cover that every thought, sentiment, passion and 
emotion has its peculiar method of manifestion, re- 
quiring the employment of appropriate Quality, Force, 
Stress, Pitch, Movement, Slides, Pauses and Group- 
ing. This principle is the science of expression ; its 
application is the art of reading. To aid the pupil 
in mastering both this science and art, illustrations in 
nature are cited, concise directions are given and 
numerous examples from representative writers are 
introduced. These selections illustrate nearly every 
human idea ; and their thorough study and frequent 
reading, with the aid of the appended KEY, will ac- 
complish more than the unguided perusal of many 
volumes of miscellaneous reading matter. 

3. Finally, to read with that effectiveness which 
shall convey to the hearers fully and clearly the mean- 
ing of an author requires absolute command of those 
elements of expression which are peculiarly adapted to 
the thought to be expressed. A knowledge of these 
elements, and facility in their correct use is attained 
by simple definition and appropriate exercises. 

4. Part IV. is devoted to Action. It is intended 
as a guide in securing a more healthful and graceful 
position in reading, and in cultivating a correct taste 
in the application of gesture to public speaking. The 
subject is philosophically developed by referring the 
learner to nature for the reason of every action em- 
ployed in the illustration of thought. 

5. Part V. seeks to develop intelligent reading by the 
perception and conception of the thought through a 



VI PREFACE. 

rigid analysis of the sentence, termed Grouping. The 
process involves good taste and judgment, is an in- 
valuable literary drill, and is not beyond the capacity 
of the average grammar school pupil. 

This book is designed to be supplementary to the 
Fourth and Fifth Keaders. It may be used advanta- 
geously instead of the latter. 

That " Common School Elocution " may contribute 
something towards elevating the art of reading from 
the mechanical process of word naming to its highest 
logical and intellectual development, is the sincere 
wish of the Author. 

August 5, 1882. 



CONTENTS. 



PAGE. 

General Outline 1 

Elocution 1 

Requirements of a Good Elocution 2 

Division of the Subject 3 

Suggestive Hints to Teachers 4 

PART I. 

Respiration .6 

Position of the Body 7 

Breathing Exercises 7 

Abdominal Breathing 7 

Chest Breathing 8 

Dorsal Breathing 8 

Costal Breathing 8 

Waist Breathing 8 

Holding the Breath 8 

Effusive Breathing 8 

Expulsive Breathing 9 

Explosive Breathing ,9 

PART II. 

Articulation 12 

Table of Elementary Sounds 13 

Exercises in Articulation . .15 

Exercises on Elementary Sounds . 16 

Exercises on Combined Consonants 19 

General Exercises in Articulation . ... . . .20 

Exercises on Orthoepy 22 

(vii) 



Vlii CONTENTS. 

PAKT III. 

PAGE. 

Vocal Expression 27 

Elements of Vocal Expression 27 

Essential Elements 27 

The Vocal Apparatus 29 

The Voice Producing Organs 30 

The Voice Modifying Organs 30 

Quality of Voice 33 

Classification { ]™ al 33 

Normal Qualities 34 

Pure Tone 34 

Examples of Pure Tone 36 

Orotund 44 

Examples of Orotund 47 

Abnormal Qualities 57 

Plaintive 59 

Examples of Plaintive 60 

Pectoral 61 

Examples of Pectoral 63 

Guttural S6 

Examples of Guttural .68 

Aspirate . 70 

Examples of Aspirate 71 

Nasal 74 

Examples of Nasal 75 

Falsetto 77 

Examples of Falsetto 78 

Force .84 

Subdued Force 87 

Examples 88 

Moderate Force 92 

Examples ' 93 

Full Force . 101 

Examples 101 

Sustained Force 110 

Examples 110 

Stress Ill 



CONTENTS. IX 

PAGE 

Radical Stress 112 

Examples 112 

Median Stress 122 

Examples . . . . 123 

Final Stress 125 

Examples 126 

Compound Stress 128 

Examples 129 

Thorough Stress 129 

Examples 130 

Intermittent Stress • 132 

Examples 133 

Pitch 135 

Middle Pitch 137 

Examples 137 

High Pitch 140 

Examples 140 

Low Pitch .145 

Examples 146 

Movement 151 

Moderate Movement . 152 

Examples ........... 152 

Slow Movement 157 

Examples 157 

Rapid Movement 159 

Examples 159 

Exercises on Essential Elements 166 

Accidental Elements 169 

Quantity 169 

Long Quantity . . . 170 

Examples 171 

Short Quantity 173 

Examples 174 

Medium Quantity 176 

Examples 176 

Slides 180 

Upward Slide 182 

Downward Slide ^ 182 



X CONTENTS. 

PAGE. 

General Eule for Slides 183 

Specific Rules for Both Slides 184 

Waves 187 

General Law of Use . . . . ' 188 

Examples 188 

Slur 191 

Law of Use 192 

Examples 192 

Emphasis -. 193 

Law of Use 195 

Emphasis of Quality 195 

Emphasis of Force 196 

Emphasis of Stress 196 

Emphasis of Pitch 197 

Emphasis of Movement .197 

Pauses 198 

General Rule 200 

Cadence 206 

Climax 207 

Anti-Climax 208 

Modulation . - . . . 210 

Examples 211 

General Direction 211 

Conversation 221 

Directions for Conversation 222 



PART IV. 

Action 232 

Position 234 

Position of the Head, Eeet aad Hands 235 

Expression of the Eyes 237 

Direction of Movement 239 

Mode of Gesture • . .241 

Exercises in Gesture . 242 

General Hints upon Gesture 247 

Facial Expression 249 



CONTENTS. Xi 

PAGE. 

General Principles of Facial Expression 250 

Sentiments, Emotions and Passions 251 

PART V. 

Grouping 258 

Grouping Pauses 559 

General Eule for Grouping 260 

Examples of Grouping 260 

Exercises in Grouping 261 

Key ... 269 



ALPHABETICAL LIST OF SELECTIONS. 



PA6E. 

Absalom, iV. P. Willis 88 

A Ker Chew Duet, Anon 75 

Baby Bunn, Josie B. — 174 

Break, Break, Break, Tennyson 101 

Bugle Song, Tennyson 172 

Cardinal Wolsey's Soliloquy, Shakespeare 64 

Cathedral at Milan, Mark Twain (S. L. Clemens) . . .95 

Catiline's Defiance, Croly 127 

Claribel's Prayer, Linde Palmer 171 

Cromwell's Expulsion of the Parliament, Lingard . . .93 

Damascus, Mark Twain (S. L. Clemens) 41 

Darkness, Byron . 157 

Death of Hamlet, Shakespeare 72 

Death of Morris, Scott 68 

Eggs, Beecher 176 

Eree Discussion, Burges 104 

Girfield, Jas. G. Blaine .... . . . .204 

Gibraltar, Mark Twain 153 

Give Me Three Grains of Corn, Mother, Miss Edwards . . 60 

God's Beautiful City, D. T. Taylor 36 

God's Eirst Temples, Bryant (Part I.) 90 

God's Eirst Temples, Bryant (Part II.) 123 

Hamlet's Soliloquy, Shakespeare 91 

Haste Not — Eest Not, Goethe 100 

Hiawatha's Farewell, Longfellow 63 

Immortality of the Soul, Addison 147 

Marmion and Douglas, Scott • 102 

Mazeppa, Byron 163 

Memory, James A. Garfield 39 

(xiii) 



XIV ALPHABETICAL LIST OF SELECTIONS. 

Page. 
Merchant of Venice (Shylock's Reply), Shakespeare . . 69 

Mercy, Shakespeare 40 

Motives of the Gospel, Dwight 55 

Mrs. McWilliams and the Lightning, Mark Twain . . .211 

My Uncle Peter, George Macdonald 228 

National Character, Maxey 121 

Nearer Home, Phebe Carey 124 

No Sects in Heaven, Mrs. Cleveland . .... 264 

Old Continentals 43 

Psalm of Life, Longfellow 138 

Ehyme of the Rail, Saxe 160 

Rienzi's Address to the Romans, Miss Mitford . . .51 

Satan Meeting Death, Milton 70 

Scott and his Dogs, Irving 226 

Sermon of Massillon, Massillon . 120 

Sparticus to the Gladiators, Kellogg 48 

Speech of Patrick Henry 142 

Sublimity of God, Bible 104 

The Bachelors, Anon 112 

The Bells (Sleigh), Toe 159 

The Bells (Alarm), Poe . . . • 52 

The Closing Year, Prentiss 158 

The Country Justice, Anon 79 

The Dagger Scene from Macbeth, Shakespeare . . . .73 

The Dying Boy, Mrs. Sigoumey 89 

The Irish Disturbance Bill, CConnell 127 

The Inquisitive Man, Poole 223 

The Launch of the Ship, Longfellow 131 

The Long Ago, B. F. Taylor 146 

The Lost Heir, Hood 78 

The Mountains of Life, J. G. Clark 89 

The National Banner, Everett 47 

The Ocean, Byron .53 

The Plea of State, Necessity, Sheridan 108 

The Power of Habit, Gough 164 

The Rising— 1776, T. B. Bead . 117 

The Seminole's Defiance, G. W. Patten . . . . 65,69 



ALPHABETICAL LIST OF SELECTIONS. XV 

PAGE. 

The Sergeant's Story of the Light Brigade . . . .200 

The Two Boot Blacks, Anon 21 

The Water-Mill, D. C. McCallum 38 

To-day, Carpenter . . 116 

Trial of Warren Hastings, Burke 106 

Trial of Warren Hastings, Macauley 152 



OUTLINE OF COMMON SCHOOL ELOCUTION. 







AbdominaV. 






Normal.... 


Pure Tone. 
Orotund. 






Chest. 












Dorsal. 








' Plaintive. 




I. Respir- 


Costal. 




Qual- < 




Pectoral. 




ation. 


Waist. 

Effusive. 

Expulsive. 


H 


ity. 


Abnormal. . 


Guttural. 
Aspirate. 
Nasal. 






Explosive. 




»■ 


Falsetto. 








s 




' Subdued. 




II. Articul- 


' Vocal. 
Subvocal. 
Aspirate. 
Consonant. 




Force 


Moderate. 




ation. ' 






Full. 
. Sustained. 












Radical. 








w 




Median. 










Stress. 




Final. 






Compound. 












Thorough. 


fc 










Intermittent. 


e 










' Middle. 


S 


in. Vocal Exp 


. 




Pitch.. 





High. 


u ■ 


ression „ 


1 


Low. 


c 








Movement < 


' Moderate. 








Rapid. 










r 


| Slow. 




Conversati 


an. 
















' Medium. 










Quantity < 


Long. 








OQ 




Short. 






' Position. 
Movements. 




Slides. 


j 


Upward. 




1 


Downward. 




IV. Action . . < 


Gesture. 


H 


Waves. 








Facial Exp res- 


>-3 


Slur. 








sion. 






r Quality. 










Force. 








H 


Emphasis 


Stress.^ 






Emphasis. 






Pitch. 




V. Group- | 


Pauses. 


u 




Movement. 




mg. 


. Sentiment. 






' Moderate. 










Pauses 


I 


Long. 




< 










Cadence. 


k Short. 










. Climax 







(xvi) 



COMMON SCHOOL ELOCUTION. 



INTRODUCTION- GENERAL OUTLINE. 



1. ELOCUTION. 

1. Elocution (from e, out, and loqui, to speak) 
is the expression of feeling and thought by means of 
the voice. 

2. As now applied by elocutionists, it includes the 
science and art of conveying thought by all the organs 
of the body, in an easy, graceful, and forcible manner. 

3. Its study and systematic practice, based upon 
principles of nature, make the voice clear, strong, 
flexible, and melodious ; and give the body and limbs 
a pliancy and harmony of motion that render the 
position and action of the speaker or reader at once 
graceful and natural. 

4. The complete mastery of its principles enables 
the speaker not only to express his thoughts clearly 
and easily, but to so vivify and illuminate those 
thoughts that his hearers see, hear, and feel the 
unquestioned truth of his argument. 

5. The gift of reason to the human race derives its 
value from the gift of speech ; but the speech of nature 

(i) 



2 COMMON SCHOOL ELOCUTION. 

is so trammelled by habit and corrupted by associations, 
that the promptings of our God-nature, as revealed 
in speech, are practically ignored. Nature, in most 
cases, means habit, and has been very properly desig- 
nated, " second nature. " 

6. Elocution calls into action the most vital organs 
of the body, in a manner, too, that stimulates them to 
their most exalted capabilities and consequent develop- 
ment ; hence, the importance of studying it in youth. 

7. A single sentence may be the exponent of years 
of study and experience, as in the case of Sheridan ; 
but its utterance with the astounding effect peculiar to 
that great master of oratory, comes only with the most 
careful practice. 

8. Correct elocutionary training has for its object 
the complete subordination of the physical being to the 
service of the mind and spirit, thought being the pro- 
duct of the inner spiritual man, and speech and gesture 
its natural outlet through the exterior or physical 
man. 

2. Requirements of Good Elocution. 

1. A full and free respiration ; 

2. A correct and distinct articulation ; 

3. A thorough knowledge and perfect control of all 

the elements of vocal expression ; 

4. Complete control of every muscle of the face, 

hands, feet, and body ; 

5. A thorough understanding of the thought to be 

expressed. 



QUESTIONS ON GENERAL OUTLINE. 3 

3. Division of the Subject. 

These five requisites divide the subject of elocution 
naturally into five parts, which are designated as fol- 
lows : — 

Part I. Respiration. 

Part II. Articulation. 

Part III. Elements of Vocal Expression. 

Part IV. Action. 

Part V. Grouping. 

QUESTIONS ON GENERAL OUTLINE. 

1. From what is the term elocution derived? 2. 
What is its special meaning? 3. What is its present 
meaning as now accepted among elocutionists? 4. 
Upon what are its principles based? 5. What effect 
has its correct study upon the voice? 6. What effect 
is produced by its practice upon the motions of the 
body? 7. What additional advantage in the expres- 
sion of thought is derived from a knowledge of elocu- 
tion? 8. What increase in the value of the gift of 
reason to the human race? 9. What is meant by the 
speech of nature trammelled by habit, etc? 10. Why 
are the organs called into activity by elocution stimu- 
lated? What do you mean by the development of 
vital organs? 11. Who was Sheridan here referred 
to? 12. What object is sought in elocutionary train- 
ing? 13. Of what is thought the product? 14. Name 
the five requisites of good elocution. 15. Name the 
five parts into which the subject is naturally divided. 



4 COMMON SCHOOL ELOCUTION. 

4. SUGGESTIVE HINTS TO TEACHERS. 

1. Whatever indifference or languor the pupil ex- 
hibits in other exercises, no feeble effort is to be toler- 
ated in elocution. Require a constant and vigorous 
mental and bodily activity, or excuse the laggard from 
participation. 

2. The exercise should be performed according to 
the text, mastering each principle as it is presented. 
When the book is completed review the examples 
whose elements are given in the key, with all accom- 
panying requisites to secure the most effective expres- 
sion possible. 

3. The exercises in Respiration are not only benefi- 
cial in the cultivation of voice power, but are healthful 
and invigorating, and should not be abridged. 

4. The mere pronunciation of the words in articula- 
tion will not repay the time occupied in the act. The 
elements must be accurately and vigorously uttered 
alone — each articulated with that incisive energy that 
implies a finality. 

5. The questions placed at the close of certain topics 
are not to be asked by the teacher, but should be used 
in the following manner: each pupil rises as called, 
and, holding the book open, reads and answers as 
many questions as the teacher may assign to him. 

6. Read the Lesson Occasionally for the Class. 
Group the words of a paragraph or an entire selection ; 
read each group separately, stopping for the class to 
repeat it with appropriate expression. 



SUGGESTIVE HINTS TO TEACHERS. 5 

7. The selections are admirably adapted for declama- 
tion, and if used as such, after their component ele- 
ments of expression are mastered, they will lay the 
foundation of an effective oratorical power. % 

8. The process of Grouping can be profitably used 
as a syntactical and rhetorical drill. As a blackboard 
exercise, permitting class criticism, it will be very in- 
teresting and valuable. 



PART I. 



5. RESPIRATION. 

1. Respiration, or breathing, is the act of taking 
air into the lungs and expelling it from them. 

2. Voice is dependent upon a proper and sufficient 
supply of air for its purity, power, and flexibility ; 
hence, habits of correct breathing should be acquired 
early and adhered to faithfully. 

3. The organs concerned in respiration are, the 
Diaphragm, Abdominal Muscles, Thoracic (chest) 
Muscles, Larynx (Adam's Apple), the Trachea (wind- 
pipe), the Bronchia (branches of the windpipe), and 
the Lungs. These should be kept in a healthy condi- 
tion by judicious use and frequent practice. They are 
capable of being subjected to the will to such an ex- 
tent that respiration is said to be suspended by the 
pearl fishers of India from three to four minutes. 

Note. — The longer a reader can hold his breath the more effec- 
tive will be his delivery of those complex sentences that become al- 
most meaningless if broken by spasmodic gaspings for breath. 

4. In the exercises which follow, enter upon your 
work with vigor and earnestness, determined to accom- 
plish the results sought. Keep your thoughts directed 

(6) 



BREATHING EXERCISES. 7 

upon the organ in action. Estimate each day your 
improvement upon the previous accomplishments. 

5. Bear in mind that as voice is dependent upon a 
copious supply of air, under the control of the will, so 
effective breathing is dependent upon pure blood, 
which, in turn, owes its existence to proper and suffi- 
cent food and physical exercise. 

6. As a reward for your faithful practice of these ex- 
ercises hi respiration, you are promised an increased 
activity and buoyancy of spirits, a command of voice 
that will be pleasing to your friends, and above all, a 
vigor of mind and body that can accompany only per- 
fect health. 

6. Position of the Body. 

Stand erect, without constraint, with one foot slightly 
in advance of the other, with the body mainly sup- 
ported by the rear foot . Thro w<the shoulders backward 
and downward. Project the chest as fully as may be 
without a sense of effort. Keep the mouth shut unless 
directed otherwise. In this connection, the pupil is 
reminded that the mouth should be kept closed at all 
times when not in actual use. Breathing must be per- 
formed through the nostrils, and not through the 
mouth. 

7. Breathing Exercises. 

Note. — Continue each of the following exercises from three to 
fiv r e minutes. 

1. Abdominal Breathing. Place the fingers upon 
the abdominal muscles and thumbs upon the costal 



8 COMMON SCHOOL ELOCUTION. 

muscles. Take a full breath, forcing the abdominal 
muscles outward, then let the muscles sink in as the 
breath comes out. Hold the shoulders firm. 

2. Chest Breathing. Relax the muscles of the 
chest. Take a full breath, and expand the chest to its 
full capacity. Exhale slowly ; direct the thoughts to 
the object to be accomplished in this, as in all other 
exercises. 

3. Dorsal (back) Breathing. Place the fingers 
at the back of the dorsal muscles, and thumbs on the 
sides. Take a full breath, trying to expand the mus- 
cles under your fingers as much as possible. Exhale 
slowly and evenly. This method of breathing is par- 
ticularly healthful, and care should be taken to dress 
so that its free action be not impeded. 

4. Costal (rib) Breathing. Place the fingers 
on the costal muscles and the thumbs at the back. 
Take a full breath, distending the muscles of the ribs 
as much as possible. In exhaling, let the sides sink 
in to their full extent. 

5. Waist Breathing. With hands hanging by the 
sides inhale with a view of distending the entire circle 
of the waist. Let the breathing be full and deep. 

6. Holding the Breath. A valuable exercise for 
controlling the breathing is to practice the " Waist 
Breathing " method for a few seconds, until the muscles 
employed are under the control of the will, and then 
observe, by noticing the second-hand of a watch, how 
long you can hold your breath. 

7. Effusive Breathing. Inhale naturally, filling 



caution. y 

the lungs, then exhale through the mouth gently and 
gradually in the sound of the letter h, giving out only 
sufficient breath to keep the sound audible. 

8. Expulsive Breathing. Inhale as before, and 
expel the air forcibly but gradually through the mouth 
in the sound of the letter A. 

9. Explosive Breathing. Inhale as before to your 
utmost capacity, and send forth the breath from the 
mouth as suddenly as possible in the sound of the 
letter h. 

CAUTION. 

1. It is claimed that the daily judicious exercise of 
the respiratory organs in the manner above directed, 
is of incalculable benefit to invalids, particularly those 
of a consumptive tendency ; but it must be borne in 
mind that the practice should be made intelligently, 
as otherwise results not only unpleasant but valueless 
would follow. Persons not accustomed to full and 
deep breathing should begin cautiously and discon- 
tinue as soon as dizziness ensues. No alarm, however, 
need be felt for the ultimate consequence if carefully 
practiced. The operation of breathing as directed 
herein, carried on cautiously and increased from day 
to day, will materially lessen the tendency to pulmo- 
nary disease. 

2. Each method of breathing should be practiced 
slowly and evenly, repeating from two to ten times, 
according to strength, before passing to the next 
method. 



10 COMMON SCHOOL ELOCUTION. 

QUESTIONS ON RESPIRATION. 

1. What is Respiration? 2. What relation has 
voice to respiration? 3. What do you mean by 
" purity," " power," and "flexibility " of voice? 4. 
When should respiration receive the attention of the 
pupil? Why? 5. Name the organs concerned in res- 
piration? 6. In what condition should they be kept? 
7. How are they to be so kept? 8. How can they be 
brought under the will? 9. Illustrate. 10. Upon 
what should the mind of the student be kept while en- 
gaging in the exercises of respiration? 11. What 
organ should receive special attention? 12. How 
should you estimate your improvement? 13. Upon 
what is breath dependent? 14. What benefits arise 
from the practice of respiration? 15. What is a state 
of "perfect health"? 16. In taking position for 
respiratory exercises what should be the attitude of 
the body? the position of the feet? the shoulders? 
17. How should the chest be held? 18. What gen- 
eral direction is given for the mouth? 19. Can you 
give any special reason for this? 20. What is abdom- 
inal breathing. 21. How should the hands be placed 
in abdominal breathing ? 22. Why? 23. Describe the 
action of the abdominal muscles in inhalation and exha- 
lation during the method of breathing termed Abdominal 
Breathing? 24. How should the shoulders be held in 
all methods of breathing? 25. What causes a sense of 
dizziness during the exercises of full breathing? 26. 
Describe the method of chest breathing. 27. Why 



QUESTIONS ON RESPIRATION. 11 

should the thoughts be directed to the organ in action ? 
28. What is Dorsal Breathing? 29. How are the 
hands placed in dorsal breathing? 30. What is said 
of the character of this method of breathing? 31. 
What influence has dress upon dorsal breathing? 32. 
Describe the process of costal breathing. 33. De- 
scribe the method of waist breathing. 34. Give the 
directions for acquiring the power of holding the 
breath. 35. What is the process of Effusive Breath- 
ing? 36. Describe the method of Expulsive Breath- 
ing. 37. Describe the method of Explosive Breathing. 
38. What benefit is claimed for the right method of 
breathing? 39. How should persons not accustomed 
to deep breathing begin the exercises here prescribed? 
40. What influence upon health has a correct method 
of breathing? 



PART II. 



8. ARTICULATION. 

1 . Articulation is the utterance of the elementary 
sounds of a language by the proper organs of speech. 

2. A distinct and ready articulation is not natural 
to all, and can be acquired only by frequent and long- 
continued drill upon elementary sounds, either alone 
or in combination. No elocutionary exercise should 
be ended without devoting some portion of it to the 
development of a clear, sharp-cut and decided articu- 
lation. 

3. An elementary sound is a sound produced by a 
single impulse of the voice. 

4. The organs employed in the production of ele- 
mentary sounds are, the Lips, Teeth, Tongue, Palate 
and Nasal organs, assisted by the respiratory organs. 

5. Vocals, or Tonics •consist of tone unmodified by 
the organs of speech. 

6. Subvocals are tones produced by the voice [See 
Art. 39.] and speech organs combined. 

7. Aspirates are mere breathings modified by the 
organs of speech. 

8. Vowels must be distinguished from vocals. 
Sounds are divided into vocals, subvocals and aspir- 

(12) 



VOCALS. 13 

ates. Letters are divided into vowels and consonants. 

9. Labials, or lip-sounds, are made by the lips. 

10. Linguals, or tongue-sounds, are made by the 
tongue. 

11. Linquo-dentals, or tongue-teeth-sounds, are 
made by the tongue and teeth. 

12. Linquo-nasals, or tongue-nose-sounds, are made 
by the tongue, the sound passing through the nose. 

13. Palato-nasals, or palate-nose-sounds, are made 
by the palate, the sound passing through the nose. 

14. Palatals, or palate-sounds, are made by the 
palate. 

15. The English Language contains forty-four ele- 
mentary sounds, classified according to the organs 
employed in producing them, as follows : — 

9. Vocals. 

a long, as in ate. I long, as in Ice. 

a short, as in at. I short, as in Ink. 

a middle, as in ask. 6 long, as in old. 

a Italian, as in arm. o short, as in odd. 

a broad, as in all. o long oo, as in prove. 

a double, as in air. o short oo, as in woman. 

e long, as in eve. u long, as in use. 

e short, as in elk. ti short, as in us. 

e modified by r, as in err. 

10. Dip thongs. 

oi, as in oil. ou, as in out. 



14 



COMMON SCHOOL ELOCUTION. 



11. Labials. 

Subvocals. 
b, as in boy. 
v, as in vine, 
w, as in we. 
m, as in man. 

12. Linguo-Dentals. 

Subvocals. 
d, as in did. 
th (vocal), as in this. 
j, as in jar. 
z, as in zone. 
z (-zh), as in seizure. 

13. Linguals. 

Subvocals. 
1, as in lull, 
r, as in roar. 
14. Linguo-Nasal. 

Subvocal. 
n, as in nun. 

15. Palato-Nasal. 

Subvocal. 
ng, as in song. 

16. Palatals. 

Subvocals. 
g, as in gay. 
y, as in you. 



Aspirates. 
p, as in pin. 
f, as in fire, 
wh, as in what. 



Aspirates. 
t, as in tin. 

th (sharp), as in think 
ch, as in church, 
s, as in see. 
sh, as in shine. 



(No aspirates.) 



(No aspirate.) 



(No aspirate.) 

Aspirates. 
k, as in kin. 
h, as in how. 



EXERCISES IN ARTICULATION. 15 

17. Exercises in Articulation. 

1. No single subject taught in connection with elo- 
cution and reading is of greater importance than artic- 
ulation ; and yet, the exercises prepared for drill are 
usually regarded so irksome and profitless as to receive 
but little attention at the hands of the instructor and 
pupil. This neglect is due, first, to a want of appre- 
ciation of the great benefit derived from a persistent 
and intelligent use of the tables, and second, to a want 
of method in conducting the exercise. 

2. To furnish a method that will prove interesting 
and productive of desirable results, the following sug- 
gestion is given ; and those who aspire to a clear, easy, 
and pleasant delivery are urged to follow it. 

3. Instead of merely pronouncing the element and 
word designed for practice in a spiritless, feeble man- 
ner, spell by sound the entire word distinctly and with 
force sufficient to fill a large room. In this manner 
conduct every exercise in articulation ; and by the 
time the prescribed exercises are completed you will 
have attained an enviable skill in distinctness of utter- 
ance. 

4. To this suggestion may be added the hint that 
every exercise in conversation and reading should be 
made an exercise in articulation. 

5. Stand erect, keep the head up, the eyes to the 
front, the chest expanded, the shoulders thrown back, 
and your mind upon what you are doing. 



16 



COMMON SCHOOL ELOCUTION. 



18. Exercises on 


Vocals. 




Utter with 


special 


force the element under consider- 


ation. 








1. a, as in 


ate. 






Kate 




came 


say 


ale 




played 


hay 


stage 




gray 


- aid 


2. a, as in 


at. 






had 




mat 


man 


ran 




bad 


hast 


sat 




cat 


that 


3. a, as in 


ask. 






task 




grant 


mass 


dance 




aft 


master 


fast 




graft 


pass 


4. a, as in arm. 






art 




arch 


charm 


calm 




farm 


qualm 


heart 




cart 


barn 


5. a, as in 


all. 






hall 




call 


ward 


water 




applaud 


draw 


quart 




fall 


stall 


6. a, as in 


air. 






stair 




care 


fare 


lair 




hair 


bare 


dare 




pair 


prayer 


7. e, as in 


eve. 






me 




the 


seed 






EXERCISES ON VOCALS. 



17 



heed 




sea 


treat 


meet 




seen 


deed 


8. S, as 


in elk. 






met 




set 


well 


head 




fed 


red 


hem 




men 


web 


9. e, as 


in err. 






her 




earth 


prefer 


merge 




serge 


mercy 


were 




verge 


berth 


10. I, as in ice. 






night 




mire 


ride 


ire 




mine 


time 


rice 




rive 


bite , 


11. I, as in ink. 






him 




mink 


thin 


bin 




tin 


grin 


rim 




kiln 


pin 


12. o, as 


in old. 






hold 




sold 


roam 


moan 




soap 


boat 


cold 




gold 


toll 


13. o, as 


in odd. 






not 




cot 


dot 


hod 




sod 


long 


lost 




dollar 


response 


14. o, as 


in prove. 






who 




do 


• you 


two 


2 


move 


moon 



18 



COMMON SCHOOL ELOCUTION. 



15. o, as in woman. 



bosom 


wolf 


foot 


hood 


look 


nook 


16. u, as in use. 






lute 


flute 


due 


blue 


tube 


duke 


17. ii, as in us. 






muss 


nut 


blunder 


must 


but 


hug 


cup 


skull 


gun 


19. Diphthongs. 






18. oi, as in oil. 


» 




boil 


joint 


voice 


j°y 


boy 


noise 


choice 


broil 


soil 


19. ou, as in out. 






shout 


found 


mound 


thou 


now 


cow 


frown 


crowd 


round 



20. Labials. — Subvocals. 

20. b, — be, boy, sob, curb, orb, tub. 

21. v, — vim, love, vase, live, vent, gave. 

22. w, — way, worn, web, weave, wig, will. 

23. m, — may, my, main, dim, calm, dumb. 

21. Labials. — Aspirates. 

24. p, — pie, pan, pop, map, poppy. 

25. f, — fun, fife, fay, five, fifty. 

26. wh, — where, when, whale, whim, whistle. 



EXERCISES OF COMBINED CONSONANTS. 19 

22. Linguo-Dentals. — Subvocals. 

27. d, — day, deed, dandy, mud, hard. 

28. th, vocal, — they, them, thee, feather, beneath. 

29. j,-— jay, joy, judge, jingle. 

30. z, — zone, zay, buzz, zone, zero. 

31. z-zh, — azure, seizure, measure, fusion. 

23. Linguo-Dentals. — Aspirates. 

32. t, — tea, tie, late, fit, mate. 

33. th, sharp, — thin, thank, lath, froth, think. 

34. ch, — chain, charm, chime, chop, catch. 

35. s, — say, see, hiss, sis, hasty. 

36. sh, — sham, ship, flash, crash, dash. 

24. Linguals. — Subvocals. 

37. 1, — lo, lid, folly, lad, lonely. 

38. r, — run, rill, rid, lorn, banner. 

25. Linguo-Nasal. — SubvocaL 

39. n, — no, now, run, vane, funny. 

26. Palato-Nasal. — SubvocaL 

40. ng, — song, sing, bring, long. 

27. Palatals. — Subvocals. 

41. g, — go, gay, gone, goggle, grumble. 

42. y, — yes, yet, your, yoke, yonder. 

28 . Palatals . — Aspira tes . 

43. k, — key, kept, sack, baker, tickle. 

44. h, — he, hay, hid, home, hub. 

29. Exercises on Combined Consonants. 

br, — brought, brindle, broom, bring. 



20 COMMON SCHOOL ELOCUTION. 

bst, — nab'st, grub'st, throb'st. 

bldst, — troubl'd'st, tumbl'd'st, grumbl'd'st. 

bdst,-— fib'd'st, sob'd'st, throb'd'st. 

gldst, — mangl'd'st, wiggl'd'st, struggl'd'st. 

fldst, — trifl'd'st, muffl'd'st, stifl'd'st. 

dndst, — wid'n'd'st, hard'n'd'st. 

tldst, — nestl'd'st, whistl'd'st. 

ldst, — handl'd'st, kindl'd'st. 

sk'st, — risk'st, husk'st, ask'st. 

30. General Exercises in Articulation. 

1. Let lovely lilacs line Lee's lonely lane. 

2. He drew long, legible lines along the lovely land- 
scape. 

3. Tkeophilus Thistler, the successful thistle-sifter, 
sifted a sieve full of unsifted thistles. 

4. The old, cold scold sold a school coal-scuttle. 

5. Did yon ever see a saw saw a saw? 

6. Eight great gray geese grazing gaily into Greece. 

7. Eound the rough and rugged rocks the ragged 
rascals ran. 

8. He sawed six long, slim, sleek, slender saplings. 

9. I said intelligence, not iutellegunce. 

10. Some shun sunshine ; do you shun sunshine? 

11. The hosts still stand in strangest plight. 

12. Five wise wives weave withered withes. 

13. She sells sea-shells ; shall he sell sea-shells? 

14. She uttered a sharp, shrill shriek, and then 
shrunk from the shriveled form that slumbered in the 
shroud. 



GENERAL EXERCISES IN ARTICULATION. 21 

15. A shot-silk sash shop. 

16. Prithee blithe youth, do not mouth your words, 
when you wreathe your face with smiles. 

17. Amidst the mists, with angry boasts, 
He thrusts his fists against the posts, 
And still insists he sees the ghosts. 

18. The sun shines smilingly on the shop-signs. 

31. Distinguish by Sound the following- Contrasts : 

chance — chants sense — cents 

tracks — tracts axe — acts 

patience — patients prince — prints 

reflex — reflects relics — relicts . 

Note. — Read the following with the greatest rapidity of move- 
ment consistent with distinctness of utterance. 

TWO BOOT-BLACKS. 
1. 

A day or two ago, during a lull in business, two little 
boot-blacks, one white and one black, were standing at the 
corners doing nothing, when the white boot-black agreed to 
black the black boot-black's boots. The black boot-black 
was of course willing to have his boots blacked by his fellow 
boot-black, and the boot-black who had agreed to black the 
black boot- black's boots went to work. 

When the boot-black had blacked one of the black boot- 
black's boots till it shone in a manner that would make any 
boot-black proud, this boot-black w r ho had agreed to black 
the black boot-black's boots refused to black the other boot 
of the black boot-black until the black boot-black, who had 
consented to have the white boot-black black his boots, 
should add five cents to the amount the white boot-black 



22 COMMON SCHOOL ELOCUTION. 

had made blacking other men's boots. This the boot-black 
whose boot had been blacked refused to do, saying it was 
good enough for a black boot-black to have one boot blacked, 
and he didn't care whether the boot that the boot-black 
hadn't blacked was blacked or not. 

This made the boot-black who had blacked the black boot- 
black' s boot as angry as a boot-black often gets, and he 
vented his black wrath by spitting upon the blacked boot 
of the black boot-black. This roused the latent passions of 
the black boot-black, and he proceeded to boot the white 
boot-black with the boot which the white boot-black had 
blacked. A fight ensued, in which the white boot-black who 
had refused to black the unblacked boot of the black boot- 
black, blacked the black boot-black's visionary organ, and 
in which the black boot-black wore all the blacking off his 
blacked boot in booting the white boot-black. 

32. Reading by Sound. 

Utter each element separately before passing to the 
next : — 
L i ke | d r ea r y | p r i s on | w a 11 s | 

Th e|stern|gray|raountains|rise| 
Until|their|topmost|crags| 

T ou ch | th e | f a r | g 1 oo m y | s k ie s | 
O n e | s t ee p | a n d | n a rr ow | p a th | 

W i n d s | u p | th e | mount ai n's | c r e st | 
A n d | f r o m | ou r | v a 11 ey | 1 ea d s | 

Ou t | t o | th e | g o 1 d e n | w e s t. | 

33. Exercises in Orthoepy. 

The following words in common use, are so fre- 
quently mispronounced by well informed people that 



EXERCISES IN ORTHOEPY. 



23 



frequent drill upon them is essential to secure then- 
correct pronunciation. Their notation is omitted, that 
the pupil may be required to avail himself of the dic- 
tionary, thus securing greater familiarity with their 
pronunciation. Every word should be looked up in 
the dictionary. It must not be assumed that the pu- 
pil can pronounce them correctly because they are 
familiar. Nothing makes a reader or speaker, who has 
some pretensions as such, more ridiculous than faulty 
pronunciation : — 



I. 


II. 


III. 


on 


vagaries 


saline 


were 


brooch 


bromine 


fast 


beneath 


trough 


long 


cortege 


enervate 


due 


eclat 


gamin 


was 


again 


elm 


ally 


visor 


off 


lurid 


lien 


hearth 


recess 


bomb 


chant 


fiery 


listen 


pass 


IV. 


V. 


VI. 


lute 


facade 


nomad 


here 


idea 


salt 


withe 


tiny 


lost 


cement(n) 


frontier 


iron 


romance 


exhort 


dog 


gaseous 


swollen 


duty 


opponent 


palaver 


bird 



24 



COMMON SCHOOL ELOCUTION. 



peremptory 


squalor 


their 


Calliope 


hostage 


prayers 


coupon 


inquiry 


falcon 


VII. 


VIII. 


IX. 


allies 


comely 


answer 


flaccid 


laugh 


earn 


raillery 


placard 


gladiolus 


comparable 


subsidence 


leisure 


rouge 


frontal 


iodine 


debut 


respirable 


frequent(v) 


regime 


amenable 


contour 


banana 


luscious 


suite 


tyrannic 


mock 


caret 


morale 


diffuse 


lyceum 


X. 


XI. 


XII. 


equipage 


contrary 


apparatus 


debris 


banian 


aspirant 


finale 


cognomen 


morphine 


cabal 


saucer 


contumely 


curator 


often 


rise (noun) 


fulsome 


after 


museum 


exhale 


song 


Danish 


carbine 


urn 


gondola 


plateau 


acacia 


water 


three-legged 


discern 


divan 


XIII. 


XIV. 


XV. 


desist 


graft 


iEneid 


obesity 


log 


obligatory 


exude 


branch 


defalcate 



QUESTIONS ON ARTICULATION. 



25 



probity 


new 


comrade 


rapine 


burred 


February 


Uranus 


gallows 


piano 


reputable 


acclimate 


docile 


caisson 


finance 


ordeal 


sotto-voce 


vendue 


barrel 


specious 


franchise 


pyrites 


XVI. 


XVII. 


XVIII. 


ribald 


isthmus 


maelstrom 


allegorist 


hygiene 


ferrule 


decade 


chimera 


therefore 


bivouac 


rinse 


bouquet 


dolorous 


caul 


acoustics 


pageant 


serge 


suffice 


irony (n) 


surge 


assume 


irony (adj.) 


Asia 


celibacy 


ensign 


armistice 


employe 


sirup 


abandon (n) 


encore 



QUESTIONS ON ARTICULATION. 

1. What is articulation? 2. Is a distinct articula- 
tion natural? 3. How can it be acquired? 4. What 
may be said of the importance of its frequent practice ? 
5. What is an elementary sound? 6. Name the or- 
gans employed in the production of elementary sounds. 
7. What is meant by the respiratory organs? Name 
them. 8. How many elementary sounds in the Eng- 
lish language ? 9. What is the basis of their classifica- 
tion? 10. How many vocals? Give their sounds. 
Write them with proper diacritical marks. How many 



26 COMMON SCHOOL ELOCUTION. 

and what diphthongs? How many and what labials? 
Which are subvocals? Which aspirates? 11. Name 
the Linguo-Dentals and tell which are subvocal and 
which are aspirate. 12. Name the Linguals, the Lin- 
guo-Nasal and Palato-Nasal. 13. Which are Palatals ? 
Distinguish the Subvocal Palatal and Aspirate Palatal. 
14. Define Vocal, Subvocal, and Aspirate. 15. How 
are Vowels distinguished from Vocals?' 16. What are 
Labials, Linguals, Linguo-Dentals, Linguo-Nasal, 
Palato-Nasal, and Palatals? 17. What is said of the 
relative importance of Articulation ? 18. Why does it 
receive so little attention from students? 19. What 
method of studying Articulation is suggested? 20. 
What hint regarding conversation is added? 21. Give 
direction for position to be observed in the exercise of 
Articulation. 22. In the words came, gray, hay, aid, 
in exercise 1., what element should receive special 
force ? Can you give any reason for this increased 
force? 23. What constitutes the difficulty in articula- 
ting such combinations as " bldst," " sldst," etc. ? 24. 
What causes the difficulty in contrasting such words 
as "chance" and "chants?" 25. Why do many 
well informed people mispronounce such common 
words as on, off, lost, mock, long, late, after, was, etc. ? 
26. What may be said of the importance of correct 
pronunciation in connection with elocution ? 



PART III. 



34, VOCAL EXPRESSION. 

1. We come now to the third requisite of good elo- 
cution, the elements of vocal expression. 

2. Eespiration is essential, to the production of voice, 
and a distinct and correct articulation must be acquired 
to render the vocal utterance in the least degree intel- 
ligible ; but, in addition to these, the speaker who 
would convey to his hearers in colors of living light, 
the varied thoughts, sentiments, and emotions that 
arise within him, must master by careful study and 
persistent practice, the following modes of the voice, 
termed — 

35. ELEMENTS OF VOCAL EXPRESSION. 

Quality, Force, Stress, Pitch, Movement, Quan- 
tity, Slides, Waves, Slur, Emphasis, Pauses, 
Cadence, and Climax. 

36. ESSENTIAL ELEMENTS. 

1. The first five of these, viz. , Quality, Force, Stress, 
Pitch and Movement, are called Essential Elements, 
or Attributes, because they are found in the utter- 
ance of every sentence. The other elements are 

(27) 



28 COMMON SCHOOL ELOCUTION. 

termed Accidental Elements, or Accidents, because 
they may or may not exist in any given sentence. 

2. A knowledge of these elements and their applica- 
tion, according to the unvarying laws of nature, 
is necessery to the orator and reader who would 
correctly portray the thoughts and passions that ani- 
mate the human soul. 

3. Their importance is shown in the fact that we 
are instinctively attracted or repelled by their use 
while in conversation with another. The animals un- 
derstand their significance though the words we utter 
be in a language before unheard. 

4. A knowledge of their use and value is not con- 
fined to the public speaker. Their influence in our daily 
and business intercourse is of the utmost importance. 

5. The Teacher in the school-room, whose tones 
are shrill, nasal, throaty or husky, and whose pitch is 
high, piercing the ears of his pupils, as if probing for 
attention, may make himself heard ; but the " ways of 
wisdom through his instrumentality will not be ways 
of pleasantness,' ' nor will his pupils get far on the 
way. 

6. The Salesman behind the counter, whose tones 
are loud and swelling while extolling the merits of his 
goods, may convince customers of his ox-driving qual- 
ifications and by-standers of his egotism ; but he will 
not sell as many goods as he who understands when 
and how to use his voice. 

7. The Lawyer who rises in his argument to his 
highest pitch, and continues to pour into the ears of a 



TPIE VOCAL APPARATUS. 29 

jury the piping tones of an unvarying monotone, may 
satisfy himself of his capacious lung power; but the 
weary jury will sigh with relief when he ceases, and 
will punish his attack upon their nervous system by 
giving his opponent the benefit of all doubts. 

8. The Mother, ignorant of the far-reaching influ- 
ence of those soft, sweet, melodious tones that in after 
years impart the sanctity of heaven to the recollec- 
tions of childhood, may enforce a temporary obedience 
to her will by that sharp, piercing command which 
startles the youthful loiterer from his reveries ; but 
the abiding influence of her motherly counsel that 
should follow the man through temptation and trial in 
later life is lost by this ignorance. 

9. A Knowledge of the effect of these elements 
upon the hearer is indispensable to all who aspire to 
success in life ; hence, the importance of acquiring a 
knowledge of their correct application, and the ability 
to use them readily and impressively. 

37. The Vocal Apparatus. 

It is not within the scope of the present work to 
give a minute description of the organs concerned in 
producing voice, nor of their "mechanical movements in 
the modifications of the various elements of vocal ex- 
pression. While a knowledge of their anatomy, physi- 
ology, and hygiene is desirable in the professional 
elocutionist, it is not essential to excellence in vocal 
expression. For the benefit of those who desire to 
qualify themselves in the work beyond the limits of 
this Manual, the organs are named and defined, so that 



30 COMMON SCHOOL ELOCUTION. 

they may be studied from works prepared for that pur- 
pose. 

38. The Voice Organs 

May be divided into two classes : First, those which 
act in the production of sound ; and, second, those used 
to modify the sound in articulated speech. 

39. The Voice-Producing Organs are : — 

1. The Abdominal and Thoracic Muscles, which as- 
sist the motion of the diaphragm, and give greater 
capacity to the chest. 

2. The Diaphragm, the partition which separates 
the abdomen from the chest. 

3. The Thorax, the cavity of the chest, with its 
muscles. Its capacity determines the voice power. 

4. The Pleura, the envelope of the lungs, acts in 
connection with the diaphragm. 

5. The Lungs. They serve as a bellows for supply- 
ing the air, which, passing through the larynx, is con- 
verted into sound. 

6. The Trachea, or windpipe, is the tube through 
which the air passes from the lungs into the larynx. 

7. The Larynx, (Adam's Apple) is the immediate 
instrument of vocal sound. 

40. The Voice-Modifying Organs are : — 

1. The Larynx, which belongs to both classes. 

2. The Pharynx (swallow), the cavity behind the 
larynx, extending up behind the veil of the palate. 
Its size determines the fullness and richness of the 
voice. 



THE VOICE MODIFYING ORGANS. 31 

3. The Nasal Passages, which open into the 
pharynx. These passages lying behind the external 
orifices of the nose, with the pharynx form part of the 
resonance chamber of the voice apparatus. 

Note. — The term " resonance," as used in elocution, implies the 
place from which the vocal sound appears to come. It is the dis- 
tinctive characteristic of Quality of Voice. 

4. The Cavity of the Mouth, including the palate. 
This is the space covered by the roof of the mouth, 
which extends from the upper front teeth to the thin 
veil separating the mouth from the pharynx. 

5. The Internal Tubes of the Ears, tubes starting 
from each side of the root of the tongue and communi- 
cating with the ears. 

6. The Tongue. 

7. The Teeth, which materially aid in giving dis- 
tinctness to articulation. 

8. The Lips. 

SUGGESTION. 

Before passing to a consideration of the elements of 
vocal expression, the student is reminded that his pro- 
gress depends upon the faithful cultivation of all those 
organs that are employed in the delivery of thought. 
Thus far the voice apparatus only has been considered. 
We shall learn from Part IV. that words alone are in- 
adequate to express in the clearest and most feeling 
manner all those emotions that originate in man. The 
great orators of every age and clime have heightened 
the effect of their delivery by the aid of physical 



32 COMMON SCHOOL ELOCUTION. 

action, used in harmony with the sentiment their 
words conveyed. It is suggested that the learner now 
turn to the subject of Action and read the directions 
carefully before proceeding with the voice elements. 

QUESTIONS ON VOCAL EXPRESSION. 

1. What is the third requisite of good elocution? 
2. Name the elements of vocal expression. 3. 
Which of these are termed essential elements ? Why ? 
4. What are the other elements termed? Why? 5. 
What relation do these elements bear to nature? 6. 
Of what value are they to the reader and orator? 7. 
What fact proves their importance? 8. Is the advan- 
tage of a knowledge of their use confined to the public 
speaker? 9. Speak of their value to the teacher. 10. 
What may be said of the salesman's tones? 11. How 
does the voice of a lawyer affect his success ? 12. How 
does the mother's voice affect the training of her chil- 
dren? 13. What advantage arises from mastering the 
vocal elements in youth? 14. To whom is a knowl- 
edge of the construction, use, aud care of the vocal 
apparatus desirable ? 15. Does the want of this knowl- 
edge prevent success in attaining excellence in vocal 
expression? 16. Into what two classes are the voice 
organs divided? 17. What office does each class per- 
form? 18. Name, define and locate each class. 19. 
What does the capacity of the thorax determine? 20. 
What effect upon the voice has the size of the pharynx? 
21. What is meant by resonance? 22, Of what is the 



CLASSIFICATION. 33 

student reaiinded before passing to the study of the 
elements of vocal expression? 23. What aid have 
orators employed to increase the effect of their deliv- 
ery? 24. What suggestion is given to the learner at 
this stage of progress ? 



41. QUALITY OF VOICE. 

1. The quality of the voice is the nature, character, 
or kind of tone used. 

2. Different qualities arise from the ever-changing 
sentiment that animates the human mind and the varied 
physical conditions to which the body is constantly 
subjected. By careful culture these qualities may be 
secured by all, and they are indispensable in giving 
expression to the varied emotions and passions. No 
one need hope for excellence in reading or speaking 
who cannot attune his voice quality to the sentiment 
to be expressed. As a means of transmitting the 
inward emotions from soul to soul they are more 
potent than the language which they clothe. 

42. CLASSIFICATION. 

As the quality of voice depends upon the nature of 
the sentiment to be expressed, and this, in turn, upon 
the condition of the mind or body from which the 
thought or feeling emanates, the qualities may be 
divided into two primary classes, Normal and Abnor- 
mal. 

.~ «. , ^ ,.^. < Pure Tone. 

43. Normal Qualities. \ 

I Orotund. 



34 COMMON SCHOOL ELOCUTION. 



44. Abnormal Qualities. 



Plaintive, 

Pectoral. 

Guttural. 

Aspirate. 

Nasal. 

Falsetto. 



45. Normal Qualities. 

All those qualities of voice used in the expression of 
thoughts originating in a natural condition of mind and 
bodily organs, working in harmony with the laws of 
our being, are styled Normal Qualities. They are 
marked in their vocal expression by a clear, smooth, 
melodious resonance, conveying to the listener a sensa- 
tion of sympathy and a conviction of the speaker's sin- 
cerity and earnestness. The Normal Qualities are 
divided into Pure Tone and Orotund. 

46. PURE TONE. 

1. The Pure Tone is a clear, smooth, musical tone, 
with the resonance in the central part of the mouth 
cavity. 

2. In its production, all the breath is converted into 
sound, free from any aspiration or harshness, the 
resonance being confined wholly within the cavity of 
the mouth. 

3. This is the quality required in ordinary vocal 
commerce ; and, as it forms the basis of pure conver- 
sation and of all the other qualities, it should be under- 
stood, and practiced till its use becomes a habit. 

4. In this connection it may be said that it is the 



TEST OF CORRECTNESS. 35 

tone of nature, and should be used by our youth. An 
examination by the author, of thirty-two boys, ranging 
in age from twelve to sixteen years, revealed the un- 
pleasant fact that but six of these used the Pure 
Tone in reading : bad habits of various kinds had 
marred the vocal quality of the other twenty-six. 

5. Purity of quality may be secured by those who 
never had it and regained by those who have lost it, 
by frequent practice and constant attention to the 
following : — 

47. Direction for Securing Pure Tone Quality. 
Shape the mouth and lips in such a manner as to form 

the sound of oo in ooze, and utter the sound several 
times with your natural pitch. 

Be careful to convert all breath used into tone. 

TEST OF CORRECTNESS. 

Place the hand within two or three inches of the 
mouth while uttering the element. If any air is felt 
to strike ifryou have not the Pure Tone. Purse the 
lips less and try again. In this way utter the long- 
vowels «, e, t, o, u, several times, using no more force 
than is necessary in speaking in a small room. Observe 
the character of the sound produced, and regulate your 
tones accordingly. 

48. Exercises : Pure Tone. 



all 


aim 


ell 


moan 


eve 


fain 


home 


noon 


ale 


vain 


heel 


old 


owl 


rain 


kept 


pain 



36 COMMON SCHOOL ELOCUTION. 

49. ILLUSTRATIONS IN NATURE. 

The Pure Tone, in its various degrees of force, is 
illustrated in nature by the cooing of the dove, the 
solemn tones of the -ZEolian harp, the joyous songs of 
the birds, the merry sound of the babbling brook and 
the happy, ringing laugh of childhood. From these 
illustrations we derive its 

50. LAW OF USE. 

The Pure Tone is used in the expression of solemn, 
serious, tranquil, narrative, didactic, and descriptive 
thought and joyous and mirthful emotions. 

Note. — In the examples which follow, the pupil is expected to 
get the practice necessary to enable him to command at will, the 
appropriate element required by the sentiment contained in any 
selection, and thus to readily adapt the proper element to his own 
conversation or oration. Hence, after the principle which forms 
the basis of the element is understood, no amount of drill upon the 
examples should be thought too arduous. Here, as elsewhere, 
"practice makes the master." 

51. Examples : Solemnity. 

Pure Tone, 

2. 

[From "God's Beautiful City." — D. T. Taylor.] 

Far, far away, amid realms of light, 
Hid deep in the azure beyond our sight, 
Stands a beautiful city, so high and bright, 
Where is known no sorrow, nor death, nor night. 

Beautiful City! 
Oh, blest abode ! oh, home of God ! 
Whose street by the feet of the sinless are trod. 



EXAMPLES — PURE TONE. 37 

They roam through the gardens of endless spring, 
They crowd all thy portals, on rushing wing, 
While the echoing domes of the palace ring 
With the hymns of the angels that shout and sing. 

Beautiful City ! 
Hark ! hark again ! the angelic strain, 
As gleams through the crystal, that burnished train. 

There the life-fires brighten, and burn, and roll, 
O'er diamonds that sparkle o'er sands of gold, 
Where to breathe the sweet air yields a bliss untold, 
And the dwellers immortal shall never grow old. 

Beautiful City! 
We pierce the skies with longing eyes, 
And yearn to inherit the golden prize. 

It is said that the King, in his power sublime, 
When the last sands drop from the glass of time, 
And our world shall be robed in its Eden prime, 
Will bring down that city to gladden earth's clime. 

Beautiful City! 
Bright capital where saints will dwell, 
And reign on the throne with Immanuel. 

As jewels that flash on the brow of a queen, 
As the jasper and ruby in crowns are seen ; 
God's chry, wrapped in its silver sheen, 
Will be set like a gem in the new earth's green. 

Beautiful City ! 
City of flowers, and peaceful bowers, 
Come down and illumine this dark world of ours. 

I have heard in that city they wait for me ; 

That its gates stand open wide and free ; 

That the ransomed the King in his beauty may see, 



38 COMMOM SCHOOL ELOCUTION. 

And live in his presence eternally. 

Beautiful City! 
In royal state blest mansions wait, 
And beckon us on through the pearly gate. 

I shall go where the summers will always bloom, 

I shall walk no more amid trial and gloom, 

I shall bid farewell to the withering tomb, 

I shall deck my brow with the conqueror's plume. 

Beautiful City! 
Let us enter in a crown to win ; 
Our words tell but half of the glory within. 

Serious and Didactic Thought. 
3. 
[From "The Water-Mill."— D. C. McCallum.] 
Listen to the water-mill, all the livelong day, — 
How the creaking of the wheel wears the hours away ; 
Languidly the water glides, ceaseless on and still, 
Never coming back again to that water-mill. 
And the proverb haunts my mind, as the spell is cast, — 
The mill will never grind again with the water that has 
passed. 

Take the lesson to yourself, loving hearts and true : 
Golden years are passing by, youth is passing too ; 
Try to make the most of life, lose no honest way ; 
All that you can call your own lies in this to-day. 
Power, intellect, and strength may not, can not last : 
The mill will never grind again with the water that has 
passed. 

Oh the wasted hours of life that have fleeted by ! 

Oh the good we might have done, lost without a sigh ! 



EXAMPLES PURE TONE. 39 

Love that once we might have saved with but a single word ; 
Thoughts conceived but not expressed — perishing unheard. 
Take the lesson to your heart, — take, oh ! hold it fast : 
The mill will never grind again with the water that has 



Tranquil and Descriptive Thought. 

4. 

[From " Memory." — J as. A. Garfield.'] 

'Tis beauteous night ; the stars look brightly down 

Upon the earth, decked in her robe of snow. 

No light gleams at the windows, save my own, 

Which gives its cheer to midnight and to me. 

And now, with noiseless step, sweet memory comes 

And leads me gently through her twilight realms. 

What poet's tuneful lyre has ever sung, 

Or delicatest pencil e'er portrayed 

The enchanted, shadowy land where memory dwells ? 

It has its valleys, cheerless, lone, and drear, 

Dark-shaded by the mournful cypress tree ; 

And yet its sunlit mountain tops are bathed 

In Heaven's own blue. Upon its craggy cliffs, 

Robed in the dreamy light of distant years, 

Are clustered joys serene of other days. 

Upon its gently sloping hill-sides bend 

The weeping willows o'er the sacred dust 

Of dear departed ones ; yet in that land, 

Where'er our footsteps fall upon the shore, 

They that were sleeping rise from out the dust 

Of death's long, silent years, and round us stand 

As erst they did before the prison tomb 

Received their clay within its voiceless halls. 



40 COMMON SCHOOL ELOCUTION. 

The path of youth winds down through many a vale, 
And on the brink of many a dread abyss, 
From out whose darkness comes no ray of light, 
Save that a phantom dances o'er the gulf 
And beckons toward the verge. Again the path 
Leads o'er the summit where the sunbeams fall ; 
And thus in light and shade, sunshine and gloom, 
Sorrow and joy, this life-path leads along. 

Didactic and Descriptive. 

5. 

[From Portia's Speech on " Mercy." — Shakespeare.'] 

Por. The quality of mercy is not strained ; 
It droppeth as the gentle rain from heaven, 
Upon the place beneath : it is twice blessed : 
It blesseth him that gives, and him that takes. 
• 'Tis mightiest in the mightiest ; it becomes 
The throned monarch better than his crown : 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty, 
Wherein doth sit the fear and dread of kings ; 
But mercy is above the sceptered sway, 
It is enthroned in the hearts of kings ; 
It is an attribute to God himself ; 
And earthly power doth then show likest God's, 
When mercy seasons justice : therefore, Jew, 
Though justice be thy plea, consider this, — 
That, in the course of justice, none of us 
Should see salvation. We do pra}^ for mercy ; 
And that same prayer doth teach us all to render 
The deeds of mercjr ; I have spoke thus much, 
To mitigate the justice of thy plea ; 



EXAMPLES PURE TONE. 41 

Which, if thou follow, this strict court of Venice 
Must needs give sentence 'gainst the merchant there. 

Description. 

6. 

[From "Damascus." — Mark Twain (S. L. Clemens). ] 

Damascus is the oldest city in the world. Tyre and 
Sidon have crumbled on the shore ; Baalbec is a ruin ; 
Palmyra is buried in the sands of the desert ; Nineveh and 
Babylon have disappeared from the Tigris and Euphrates ; 
Damascus remains what it was before the days of Abraham, — 
a centre of trade and travel, an island of verdure in a desert, 
" a predestined capital," with martial and sacred associa- 
tions extending through more than thirty centuries. It was 
near Damascus that Saul of Tarsus saw the light from 
heaven, above the brightness of the sun. The street which 
is called Straight, in which it was said he prayed, still runs 
through the city. The caravan comes and goes as it did 
three thousand years ago ; there are still the sheik, the ass, 
and the water-wheel ; the merchants of the Euphrates and 
the Mediterranean still ' ' occupy these with the multitudes 
of their waters." 

The city which Mohammed surveyed from a neighboring 
height and was afraid to enter because it was given to have 
but one paradise, and for his part he was resolved not to 
have it in this world, is to this day what Julian called " the 
eye of the East," as it was in the time of Isaiah, "the head 
of Syria." From Damascus came the damson, or dama- 
scene, or blue plum, and the delicious apricot of Portugal, 
called the damasco ; damask, our beautiful fabric of cotton 
and silk, with vines and flowers raised upon a smooth, bright 
ground; the damask rose, introduced into England in the 



42 COMMON SCHOOL ELOCUTION. 

time of Henry VIII. ; the Damascus blade, so famous the 
world over for its keen edge and wonderful elasticity, 
the secret of whose manufacture was lost when Tamerlane 
carried off the arts into Persia; and the beautiful art of 
inlaying wood and steel with silver and gold, a kind of Mosaic, 
engraving and sculpture united — called damaskeening — 
with which boxes, swords, guns, and bureaus are ornamented. 

It is still a city of flowers and bright waters ; the * ' rivers 
of Damascus," the "streams from Lebanon," the "rivers 
of gold," still murmur and sparkle in the wilderness of 
" Syrian Gardone." 

The early history of Damascus is shrouded in the hoary 
mists of antiquity. Leave the matters written of it in the 
first eleven chapters of the Old Testament out, and no 
recorded event had occurred in the whole to show that 
Damascus was in existence to receive it. Go back as far as 
you will into the vague past, there was always a Damascus. 
In the writings of every country for more than four thousand 
years, its name has been mentioned and its praises sung. 
To Damascus years are only moments : decades, only flitting 
trifles of time. She measures time not by days and months, 
but by the empires she has seen rise and prosper, then crum- 
ble to ruin. She is a type of immortality. She saw the 
foundation of Baalbec and Thebes and Ephesus laid ; she saw 
them grow into mighty cities, and amaze the world with their 
grandeur, and she has lived to see them desolate, deserted, 
and given to the owls and the bats. She saw the Israelitish 
empire exalted and she saw it annihilated. She saw Greece 
rise and flourish for two thousand years, and die. In her 
old age she saw Rome built ; she saw it overshadow the 
world with its power ; she saw it perish. The few hundred 
years of Genoese and Venetian might and splendor were to 



EXAMPLES PURE TONE. 43 

grave old Damascus, only a scintillation hardly worth re- 
membering. Damascus has seen all that has occurred on 
earth and still lives. She has looked upon the dry bones of 
a thousand empires, and she will live to see the tomb of a 
thousand more before she dies. Though another claims the 
name, old Damascus is, by right, the Eternal City. 



Vivid Description. 

7. 

["The Old Continentals." — Mac Master.'] 

In their ragged regimentals 
Stood the old Continentals, 

Yielding not, 
When the grenadiers were lunging, 
And like hail fell the plunging 

Cannon-shot ; 

When the files 

Of the Isles, 
From the smoky night encampment bore the banner of the 

Unicorn ; [rampant 

And grummer, grummer, GRUMMER rolled the roll of the 

Through the morn ! [drummer 

Then with eyes to the front all, 
And with guns horizontal, 

Stood our sires ; 
And the balls whistled deadly, 
And in streams flashing redly 

Blazed the fires ; 

As the roar 

On the shore, 



44 COMMON SCHOOL ELOCUTION. 

Swept the strong battle-breakers o'er the green-sodded acres 

Of the plain ; 
And louder, louder, LOUDER cracked the black gunpow- 

Cracking amain ! [der, — 

Now, like smiths at their forges, 
Worked the red St. George's 

Cannoniers ; 
And the "villainous saltpetre," 
Eang a fierce, discordant metre 

Round their ears : 

As the swift 

Storm-drift, 
With hot sweeping anger came the horse-guards' clangor 

On our flanks. 
Then higher, higher, HIGHER burned the old-fashioned fire 

Through the ranks ! 

Then the old-fashioned colonel 
Galloped through the white infernal 

Powder- cloud ; 
And his broad sword was swinging, 
And his brazen throat was ringing 
Trumpet loud. 
Then the blue 
Bullets flew, 
And the trooper- jackets redden at the touch of the leaden 

Rifle-breath ; . 
And rounder, rounder, ROUNDER roared the iron six- 
Huiiing death ! [pounder, 

52. OROTUND QUALITY. 

1. The Orotund Quality (from oris, the mouth, and 
rolundis, round, meaning round mouth) is the pure 



OROTUND QUALITY. 45 

tone, deepened and intensified to its utmost magni- 
tude, with the resonance in the chest. 

2. The Orotund Quality is most pleasing to the ear 
and highly beneficial to the speaker. The exercise of 
the voice in acquiring this quality and the actual use 
of it, impart, more than almost any other exercise, 
fullness, strength and clearness to the tones of the 
speaker. It may be justly termed, in its full develop- 
ment, the highest character of human utterance ; and, 
therefore, implies the consciousness of the most exalted 
emotions, excited by a power and energy of gigantic 
conceptions. 

3. The Orotund Quality is naturally possessed by 
very few, — rarely by uncultivated voices ; and though 
it may be acquired by most persons, much time and 
practice are requisite to secure that depth, fullness 
and richness which Murdock describes as " the blend- 
ing of volume and purity in one vast sphere of 
sound." 

53. Directions for Acquiring Orotund Quality. 

1. Stand erect in such a manner that the chest is 
elevated and expanded to its utmost capacity. De- 
press and enlarge the larynx as if trying to force down 
some large object ; then prolong the sound of long o, as 
heard in old, using a low pitch. Be careful not to con- 
tract the muscles of the throat, or the very opposite of 
Orotund will be produced — the Guttural, sl quality 
by no means to be desired at this stage of progress. 

2. Practice the following exercises as directed above, 
and endeavor to impart to your tones depth and full" 



46 COMMON SCHOOL ELOCUTION. 

ness by speaking, as it were, in the chest and throat. 
A few weeks' effort will be rewarded by a voice much 
improved. 



54. Exercises : Orotund. 






a as in arm. 






a as in all. 






as in home. 






oo as in ooze. 




all 


arm roll 


ah 


gone 


broad tone 


soul 


home 


moan more 

Roll on, old ocean gray ! 
Thou eternal One ! 


moon 



Ah, why should we, in the world's riper years, 
Neglect God's ancient sanctuaries, and adore 
Only among the crowd, and under roofs 
That our frail hands have raised ! 

55. ILLUSTRATIONS IN NATURE. 

The Orotund Quality is illustrated in nature by the 
deep bay of the hound, the roar of the lion, the dis- 
tant sound of Niagara, and the heavy rolling of the 
ocean. 

56. LAW OF USE. 

The Orotund Quality is employed in the expression 
of earnest, bold, grand and lofty thought, and in giv- 
ing utterance to emotions of grandeur, sublimity, 
reverence, adoration, devotion, daring, learning, cour- 
age, and inspiration. 



EXAMPLES — OROTUND. 47 

CAUTION. 

Students should avoid using the orotund in express- 
ing common-place thoughts ; as nothing is more ridicu- 
lous, even to an uncultivated ear, than an attempt to 
dignify our ordinary conversation by the use of tones 
wholly inappropriate to the sentiment. 

57. Examples : — 

Patriotic Devotion. 

8. 
["The National Banner."— Everett.] 

All hail to our glorious ensign! courage to the heart 
and strength to the hand, to which, in all time, it shall be 
intrusted ! May it ever wave in honor, in unsullied glory, 
and patriotic hope on the dome of the capitol, on the coun- 
try's stronghold, on the entented plain, on the wave-rocked 
topmast. 

Wherever, on the earth's surface, the eye of the American 
shall behold it, may he have reason to bless it ! On whatso- 
ever spot it is planted, there may freedom have a foothold, 
humanity a brave champion, and religion an altar ! Though 
stained with blood in a righteous cause, may it never in any 
cause be stained with shame ! 

Alike, when its gorgeous folds shall wanton in lazy holi- 
day-triumphs on the summer breeze, and its tattered frag- 
ments be dimly seen through the clouds of war, may it be 
the joy and pride of the American heart! First raised in 
the cause of right and liberty, in that cause al©ne may it 
forever spread out its streaming blazonry to the battle and 
the storm ! Having been borne victoriously across the con- 
tinent and on every sea, may virtue and freedom and peace 
forever follow where it leads the way ! 



48 COMMON SCHOOL ELOCUTION. 

Boldness, Warning. 
9. 

[Speech of Spartacus to the Gladiators. — Kellogg.] 

It had been a day of triumph in Capua. Lentulus, 
returning with victorious eagles, had amused the populace 
with the sports of the amphitheatre to an extent hitherto 
unknown even in that luxurious city. The shouts of revelry 
had died away ; the roar of the lion had ceased ; the last 
loiterer had retired from the banquet, and the lights in the 
palace of the victor were extinguished. The moon, piercing 
the tissue of fleecy clouds, silvered the dew-drops on the 
corselet of the Roman sentinel, and tipped the dark waters 
of the Yulturnus with a wavy, tremulous light. No sound 
was heard save the last sob of some retiring wave, telling its 
story to the smooth pebbles of the beach ; and then all was 
still as the breast when the spirit has departed. In the deep 
recesses of the amphitheatre a band of gladiators were 
assembled, their muscles still knotted with the agony of 
conflict, the foam upon their lips, the scowl of battle yet 
lingering on their brows, when Sparticus, starting forth 
from amid the throng, thus addressed them : — 

" Ye call me chief ; and ye do well to call him chief who, 
for twelve long 3 r ears, has met upon the arena every shape 
of man or beast the broad empire of Rome could furnish, 
aud who never yet lowered his arm. If there be one among 
you who can say that ever, in public fight or private brawl, 
my actions did belie my tongue, let him stand forth and say 
it. If there be three in all your company dare face me on 
the bloody sands, let them come on. And yet I was not 
always thus — a hired butcher, a savage chief of still more 
savage men! My ancestors came from old Sparta, and 






EXAMPLES OROTUND . 49 

settled among the vine-clad rocks and citron groves of Syra- 
sella. My early life ran quiet as the brooks by which I 
sported ; and when, at noon, I gathered the sheep beneath 
the shade and played upon the shepherd's flute, there was a 
friend, the son of a neighbor, to join me in the pastime. 

"We led our flocks to the same pasture, and partook 
together our rustic meal. One evening, after the sheep 
were folded, and we were all seated beneath the myrtle 
which shaded our cottage, my grandsire, an old man, was 
telling of Marathon and Leuctra, and how, in ancient times, 
a little band of Spartans, in a defile of the mountains, had 
withstood a whole army. I did not then know what war 
was, but my cheeks burned, I knew not why, and I clasped 
the knees of that venerable man, until my mother, parting 
the hair from off my forehead, kissed my throbbing temples, 
and bade me go to rest, and think no more of those old 
tales and savage wars. That very night the Romans landed 
on our coast. I saw the breast that had nourished me 
trampled by the hoof of the war-horse, the bleeding body 
of my father flung amid the blazing rafters of our dwelling ! 

"To-day I killed a man in the arena, and when I broke 
his helmet- clasps, behold, he was my friend. He knew me, 
smiled faintly, gasped, and died ; the same sweet smile upon 
his lips that I had marked when, in adventurous boyhood, 
we scaled the lofty cliff to pluck the first ripe grapes and 
bear them home in childish triumph. I told the praetor that 
the dead man had been my friend, generous and brave, and 
I begged that I might bear away the body, to burn it on a 
funeral pile and mourn over its ashes. Ay, upon my knees, 
amid the dust and blood of the arena, I begged that poor 
boon, while all the assembled maids and matrons, and the 
holy virgins they call Vestals, and the rabble, shouted in 
derision, deeming it rare sport, forsooth, to see Rome's 

4 



50 COMMON SCHOOL ELOCUTION. 

fiercest gladiator turn pale and tremble at sight of that 
piece of bleeding clay! And the praetor drew back as I 
were pollution, and sternly said, l Let the carrion rot ; there 
are no noble men but Romans ! ' And so, fellow-gladiators, 
must you, and so must I, die like dogs. O Rome ! Rome ! 
thou hast been a tender nurse to me. Ay, thou hast given 
to that poor, gentle, timid shepherd lad, who never knew a 
harsher tone than a flute-note, muscles of iron and a heart 
of flint ; taught him to drive the sword through plaited mail 
and links of rugged brass, and warm it in the marrow of his 
foe ; to gaze into the glaring eyeballs of the fierce Numidian 
lion, even as a boy upon a laughing girl. And he shall pay 
thee back, until the yellow Tiber is red as frothing wine, 
and in its deepest ooze thy life-blood lies curdled ! 

" Ye stand here now like giants, as ye are. The strength 
of brass is in your toughened sinews ; but to-morrow some 
Roman Adonis, breathing sweet perfume from his curly 
locks, shall with his lily fingers pat your red brawn and bet 
his sesterces upon your blood. Hark! hear ye yon lion 
roaring in his den? 'Tis three days since he tasted flesh, 
but to-morrow he shall break his fast upon yours, and a 
dainty meal for him ye will be. If ye are beasts, then stand 
here like fat oxen, waiting for the butcher's knife ! If ye are 
men, follow me! Strike down yon guard, gain the moun- 
tain passes, and there do bloody work, as did your sires at 
old Thermopylae! Is Sparta dead? Is the old Grecian 
spirit frozen in your veins, that you do crouch and cower 
like a belabored hound beneath his master's lash? Oh, 
comrades! warriors! Thracians! if we must fight, let us 
fight for ourselves I If we must slaughter, let us slaughter 
our oppressors ! If we must die, let it be under the clear 
sky, by the bright waters, in noble, honorable battle." 



EXAMPLES — OROTUND . 5 1 

Bold Denunciation, Indignation. 

10. 
[Rienzi's Address to the Romans. — Mitford.'] 

I come not here to talk. You know too well 

The story o# our thraldom. We are — slaves ! 

The bright sun rises to his course and lights 

A race of — slaves I He sets, and his last beams 

Fall on a slave; not such as, swept along 

By the full tide of power, the conquerer led 

To crimson glory and undying fame : 

But — base — ignoble slaves ; slaves to a horde 

Of petty tyrants, feudal despots, lords, 

Rich in some dozen paltry villages; 

Strong in some hundred spearmen; only great 

In that strange spell — a name. 

Each hour, dark fraud, 
Or open rapine, or protected murder, 
Cries out against them. But this very day, 
An honest man, my neighbor — there he stands — 
Was struck — struck like a — dog, by one who wore 
The badge of Ursini, because, forsooth! 
He tossed not high his ready cap in air, 
Nor lifted up his voice in servile shouts, 
At sight of that great ruffian ! Be we men, 
And suffer such dishonor? men, and wash not 
The stain away in blood? Such shames are common. 
I have known deeper wrongs ; J, that speak to ye, 
I had a brother once — a gracious boy, 
Full of gentleness, of calmest hope, 
Of sweet and quiet joy ; — there was the look 



52 COMMON SCHOOL ELOCUTION. 

Of heaven upon his face, which limners give 
To the beloved disciple. 

How I loved 
That gracious boy ! Younger by fifteen years, 
Brother at once, and son ! He left my side, 
A summer bloom on his fair cheek ; $ smile 
Parting his innocent lips. In one short hour 
The pretty, harmless boy was slain,! I saw 
The corse, the mangled corse, and then I cried 
For vengeance ! Rouse ye, Romans ! rouse ye, Slaves ! 
Have ye brave sons ? Look in the next fierce brawl 
To see them die. Have ye fair daughters ? Look 
To see them live, torn from your arms, distained, 
Dishonored; and if ye dare call for justice, 
Be answered by the lash. 

Yet, this is Rome, 
That sat on her seven hills, and from her throne 
Of beauty, ruled the world ! Yet, we are Romans. 
Why, in that elder day, to be a Roman 
Was greater than a king ! And, once again — 
Hear me, ye walls that echoed to the tread 
Of either Brutus ! — once again, I swear, 
The Eternal City shall be free! 

Alarm. 
[From "The Bells."— Poe.] 
11. 
Hear the loud alarum bells — 
Brazen bells ! 
What a tale of terror, now, their turbulency tells ! 
In the startled ear of night 
How they scream out their affright ! 






EXAMPLES — OROTUND . 5 3 

Too much horrified to speak, 
They can only shriek, shriek, 
Out of tune, 
In a clamorous appealing to the mercy of the fire, 
In a mad expostulation with the deaf and frantic fire, 
Leaping higher, higher, higher, 
With a desperate desire, 
And a resolute endeavor, 
Now — now to sit, or never, 
By the side of the pale-faced moon. 
Oh, the bells, bells, bells ! 
What a tale their terror tells 
Of despair! 
How they clang, and crash, and roar ! 
What a horror they outpour 
On the bosom of the palpitating air ! 
Yet the ear it fully knows, 
By the twanging 
And the clanging, 
How the danger ebbs and flows ; 
Yet the ear distinctly tells, 
In the jangling 
And the wrangling, 
How the danger sinks and swells, 
By the sinking or the swelling in the anger of the bells — 
Of the bells. 

Grandeur, Sublimity. 
12. 
[From "The Ocean." — Byron.'] 
Roll on, thou deep and dark blue ocean, roll ! 

Ten thousand fleets sweep over thee in vain ; 
Man marks the earth with ruin ; his control 



54 COMMON SCHOOL ELOCUTION. 

Stops with the shore ; upon the watery plain 
The wrecks are all thy deed, nor doth remain 

A shadow of man's ravage, save his own, 
When, for a moment, like a drop of rain, 

He sinks into thy depths with bubbling groan, 
Without a grave, unknelled, uncoffined and unkown. 

The armaments which thunderstrike the walls 

Of rock-built cities, bidding nations quake, 
And monarchs tremble in their capitols, 

The oak leviathans whose huge ribs make 
Their clay creator the vain title take 

Of lord of thee, and arbiter of war ; — 
These are thy toys, and, as the snowy flake, 

They melt into thy yest of waves, which mar 
Alike the Armada's pride or spoils of Trafalgar. 

Thy shores are empires, changed in all save thee ; 

Assyria, Greece, Rome, Carthage, what are they? 
Thy waters wasted them while they were free, 

And many a tyrant since ; their shores obey 
The stranger, slave or savage ; their decay 

Has dried up realms to deserts : not so thou, 
Unchangeable, save to thy wild waves' play ; 

Time writes no wrinkle on thine azure brow ; 
Such as creation's dawn beheld, thou rollest now. 

Thou glorious mirror, where the Almighty's form 
Glasses itself in tempests ; in all time, 

Calm or convulsed — in breeze, or gale, or storm — 
Icing the pole, or in the torrid clime 

Dark-heaving; boundless, endless and sublime — 
The image of eternity — the throne 

Of the invisible ; even from out thy slime 



EXAMPLES OROTUND . 5 5 

The monsters of the deep are made ; each zone 
Obeys thee ; thou goest forth, dread, fathomless, alone ! 

And I have loved thee, Ocean ! and my joy 

Of youthful sports was on thy breast to be 
Borne, like thy bubbles, onward : from a boy 

I wantoned with thy breakers : they to me 
Were a delight ; and if the freshening sea 

Made them a terror, 'twas a pleasing fear, 
For I was, as it were, a child of thee, 

And trusted to thy billows far and near, 
And laid my hand upon thy mane, as I do here. 



Exhortation. 

13. 

[From " Motives of the Gospel."— Dwight.'] 

Ministers proclaim to you the glad tidings of great joy, 
and point out to you the path to heaven. The Sabbath 
faithfully returns its mild and sweet seasons of grace, that 
earthly objects may not engross your thoughts and prevent 
your attention to immortality. The sanctuary unfolds its 
doors and invites you to enter in and be saved. 

The Gospel still shines to direct your feet and to quicken 
your pursuit of the inestimable prize. Saints wait with 
fervent hope of renewing their joy over your repentance. 
Angels spread their wings to conduct you home. The Father 
holds out the golden scepter of forgiveness that you may 
touch and live. The Son died on the cross, ascended to 
heaven, and intercedes before the throne of mercy that you 
may be accepted. The Spirit of grace and truth descends 
with his benevolent influence to allure and persuade you. 



56 COMMON SCHOOL ELOCUTION. 

"While all things, and God at the head of all things, are thus 
kindly and solemnly employed to encourage you in the pur- 
suit of this inestimable good, will you forget that you have 
souls which must be saved or lost ? Will you forget that 
the only time of salvation is the present? that beyond the 
grave there is no Gospel to be preached? that there no 
offers of life are to be made ? that no Redeemer will there 
expiate your sins, and no forgiving God receive your souls ? 

QUESTIONS ON THE NORMAL QUALITIES OF 
VOICE. 

1. What is meant by quality of voice? 2. From 
what do the different qualities of voice arise? 3. How 
may the different qualities be secured? 4. What is 
their value? 5. Upon what does the quality of voice 
depend? 6. This forms the basis of what classifica- 
tion? 7. Name each class. 8. What is meant by 
Normal Qualities ? 9. How may they be recognized? 
10. Into what classes are the Normal Qualities di- 
vided? 11. Define the Pure Tone. 12. Tell how 
the Pure Tone is produced. 13. Why should the 
Pure Tone be thoroughly cultivated? 14. What illus- 
tration of its loss is given? 15. What habits do you 
think contribute to mar the purity of tone? 16. Give 
the direction for securing the Pure Tone. 17. Utter 
with Pure Tone the words gone, gleam, thought, time, 
come. 18. Name the illustrations of Pure Tone Qual- 
ity found in nature. 19. State the principle or law of 
the use of the Pure Tone. 20. [Note.] What is im- 
plied in the statement that " the pupil is expected to 



ABNORMAL QUALITIES. 57 

get from the following selections the practice neces- 
sary to enable him to command at will, the appro- 
priate element required ?" 21. What, in these exer- 
cises, makes the master? 22. Why does " God's 
Beautiful City" require Pure Tone? 23. Name five 
other poems expressing serious or solemn thought. 
24. Why should " The Water-Mill, ,J " Memory/' and 
Portia's Speech be read with Pure Tone? 25. Give 
the meaning by reference to the dictionary of the 
terms, solemn, serious, tranquil, narrative, didactic, and 
descriptive. 26. Name a poetic or prose composition 
expressive of descriptive thought ; one of narrative 
thought. 27. Define Orotund Quality. 28. What of 
its effect upon the ear, and benefit to the speaker? 
29. What does its use imply in the mind of the 
speaker? 30. What is said of its possession by 
speakers? 31. Give the direction for acquiring the 
Orotund Quality. 32. What must be observed? 33. 
In practicing the Orotund Quality what object should 
be kept in view? 34. State the law of its use. 35. 
What are the illustrations of Orotund Quality in 
nature? 36. What caution is given regarding the use 
of the Orotund? 37. Define the terms, earnest, bold, 
grand, lofty, grandeur, sublimity, reverence, adoration, 
devotion, daring, warning, courage and inspiration. 

58. ABNORMAL QUALITIES. 

1. The human mind and physical organism are sub- 
ject to wonderful and varied changes. The mind has 
its moods of fear, aversion, contempt, hatred, anger, 



58 COMMON SCHOOL ELOCUTION. 

horror, despair and grief; and the body is subject to 
numerous ailments, all at variance with the genial 
tranquillity of an unruffled life. As language and 
action are the mirrors of the human soul, so they 
should faithfully reflect the thoughts and passions which 
exist within. 

2. Every change of the mind, from the peaceful 
contemplation of a well ordered state of affairs, every 
change in the vital functions from a state of perfect 
health, manifests itself, not more distinctly in the 
actions and manner of the individual than in the tones 
of his voice . 

3. Accordingly, those tones, or qualities of voice, 
with which one expresses his thoughts and emotions, 
while under the influence of such mental or physical 
disturbance, are termed Abnormal Qualities. 

4. Under the various conditions of mind and body, 
these qualities will be, Plaintive, Pectoral, Guttural, 
Aspirate, N~asal, and Falsetto. Two or more of these 
may be combined, according to the prevailing trait or 
the intensity of the emotion they express. 

5. These qualities are all more or less impure, that 
is mingled with breath, and are, hence, sometimes 
styled " impure qualities." 

6. On account of the impurity of the Abnormal 
Qualities, they have not received favorable attention 
from teachers of elocution ; but as almost every literary 
work extant contains sentiments and emotions whose 
correct rendering demands their use, the reader can 
not ignore them. Their frequent practice by the 



PLAINTIVE QUALITY. 59 

student of elocution, strengthens the voice to a degree 
that would justify their cultivation if there were no 
other reason for their use. 

7. That the pupil may know when to use these 
abnormal qualities, as well as when to avoid them, 
particular attention is called to the definition of each 
quality, and the character of sentiment contained in 
each example used for its illustration. 

59. PLAINTIVE QUALITY. 

1. The Plaintive is that quality of voice in which 
the sound is uttered in a thin, feeble tone, with the 
resonance in the forward part of the mouth. 

2. In the production of this quality the organs seem 
to labor under a painful effort ; and though it some- 
times expresses the most exalted emotions, the weak- 
ness of the vocal organs prevents the conversion of all 
the breath used into tone, and the quality is therefore 
impure. 

ILLUSTRATIONS DENATURE. 

This quality is illustrated in nature by the moaning 
of the soft winds and in the groans accompanying 
death. 

60. Direction for producing the Plaintive Qual- 
ity. 

Draw in the cheeks so as to reduce the size of the 
resonance chamber of the mouth, gently compress the 
lips, and prolong the sound of long o, in high pitch, 



60 COMMON SCHOOL ELOCUTION. 

with subdued force. This will give you the quality, 
when you can reproduce it in the exercises following. 

61. LAW OF USE. 

The Plaintive Quality is used, with various degrees 
of force, to express feebleness, exhaustion, languor, 
acute pain and affectation. . 

Note. — The last mentioned use is worthy of particular atten- 
tion. A few young people of the gentler sex have educated them- 
selves into the fancy that a clear, ringing tone of voice is 
" indelicate " or « ' unaesthetic." To evince their refinement and 
high state of culture, they purse the lips, and utter their small talk 
with a daintiness that in its violation of good taste is equalled only 
by their fellow-exalted-culturists, who mince their sweet-scented 
words in a manner that would have thrown an effeminate Roman 
into a paroxysm of envy. 

CAUTION. 

The student is cautioned against using this quality 
in any case except where it may be needed in persona- 
tion. Its use by an able-bodied man or woman is an 
infallible indication of ^affectation or degeneracy. 



62. Examples: Feebleness and Exhaustion. 

14. 

[" Give Me Three Grains of Corn, Mother." —Miss Edwards.'] 

Give me three grains of corn, mother, 

Only three grains of corn ; 
It will keep the little life I have, 

Till the coming of the morn. 



PECTORAL QUALITY. 61 

I am dying of hunger and cold, mother, 

Dying of hunger and cold, 
And half the agony of such a death 

My lips have never told. 

It has gnawed like a wolf, at my heart, mother, 

A wolf that is fierce for blood, — 
All the livelong day, and the night beside, 

Gnawing for lack of food. 
I dreamed of bread in my sleep, mother, 

And the sight was heaven to see ; 
I awoke with an eager, famishing lip, 

But you had no bread for me. 
How could I look to you, mother, 

How could I look to you, 
For bread to give to your starving boy, 

Wh@n .you were starving to? 
For I read the famine in your cheek, 

And in your eye so wild, 
And I felt it in your bony hand 

As you laid it on your child. 

Come nearer to my side, mother, 

Come nearer to my side, 
And hold me fondly, as you held 

My father when he died ; 
Quick, for I cannot see you, mother ; 

My breath is almost gone ; 
Mother ! dear mother ! ere I die, 

Give me three grains of corn. 

63. PECTORAL QUALITY. 

1. The Pectoral Quality (f rom pectoris, the breast) 
is a rough, harsh, husky, hollow tone, resembling the 



62 COMMON SCHOOL ELOCUTION. 

Orotund, with the resonance in the upper part of the 
chest. 

2. The Pectoral is low in pitch, and usually slow in 
movement. It arises from a debilitated or relaxed 
condition of the vocal chords and a feeble action of the 
abdominal muscles. 

3. It is exhibited in persons addicted to dissipation, 
intemperance, and the use of various stimulants and 
narcotics. 

64. ILLUSTRATIONS IN NATURE. 

The Pectoral Quality is illustrated in nature by the 
low growl of the lion and the harsh roar of the 
tempest. 

65. Directions for Producing 1 the Pectoral. 

1 . Take the position required in producing the Oro- 
tund. Practice the Orotund a few seconds on the 
sound of long o, then relax the muscles about the throat 
and waist, lower the pitch to the lowest note that will 
permit tone, retaining the same force, and continue 
the sound of long o, in a harsh, hollow, husky tone. 

2. This will give you the Pectoral Quality. Con- 
tinue the exercise as a key till you can strike the right 
quality, then practice with the same quality on the 
vowels, 

a, e, I, o, S. 

66. LAW OF USE. 

The Pectoral Quality is used to express sorrow, de- 
spair, dread, deep solemnity mingled with awe, re- 



EXAMPLES PECTORAL QUALITY. 63 

morse, horror, suppr-essed rage, hate, and in the repre- 
sentation of the supernatural. 

67. Examples: Sorrow. 

[From the Bible. — Lament of David.'] 

O my son Absolom'! my son', my son Absolom'! would 
to God I had died for thee\ O Absolom', my son, my son x ! 

Sadness. 
15. 

[From Longfellow's "Hiawatha."] 

1 ' Farewell ! ' ' said he, " Minnehaha ! 
Farewell, O my Laughing "Water ! 
All my heart is buried with you, 
All my thoughts go onward with you ! 
Come not back again to labor, 
Come not back again to suffer, 
Where the Famine and the Fever 
Wear the heart and waste the body. 
Soon my task will be completed, 
Soon your footsteps I shall follow 
To the Islands of the Blessed, 
To the Kingdom of Ponemah, 
To the Land of the Hereafter! " 

Dread, Horror, and Despair. 

[From " Macbeth." — Shakespeare.] 

Macb. Methought I heard a voice cry, Sleep no more. 
Macbeth doth murder sleep — the innocent sleep — 
Sleep that knits up the ravel 'd sleeve of care, 
The death of each day's life, sore labor's bath, 



64 COMMON SCHOOL ELOCUTION. 

Balm of hurt minds, great nature's second course, 
Chief nourisher in life's feast: — 

Lady M. What do you mean ? 

Macb. Still it cried, Sleep no more, to all the house : 
Glamis hath murdered sleep; and therefore Cawdor 
Shall sleep no more — Macbeth shall sleep no more ! 

Horror and Fear. 

16. 

[From " Macbeth." — Shakespeare.'] 

" Now o'er the one-half world 
Nature seems dead ; and wicked dreams abuse 
The curtaiDed sleep ; now witchcraft celebrates 
Pale Hecate's offerings ; and withered murder, 
Alarmed by his sentinel, the wolf, 
Whose howl's his watch, thus with his stealthy pace, 
Towards his design 

Moves like a ghost. — Thou sure and firm-set earth ! 
Hear not my steps, which way they walk ; for fear 
The very stones prate of my whereabout, 
And take the present horror from the time, 
Which now suits with it." 

Remorse. 
17. 

[Cardinal Wolsey's Soliloquy. — Shakespeare."] 

Farewell, a long farewell to all my greatness ! 
This is the state of man : to-day he puts forth 
The tender leaves of hope ; — to-morrow, blossoms, 
And bears his blushing honors thick upon him : 
The third day comes a frost — a killing frost ; 



EXAMPLES PECTORAL QUALITY. 65 

And when he thinks, good easy man, full surely, 
His greatness is a ripening — nips his root ; 
And then he falls, as I do. I have ventured, 
Like little wanton boys that swim on bladders, 
These many summers in a sea of glory — 
But far beyond my depth : my high-blown pride, 
At length, broke under me, and now has left me, 
Weary and old with service, to the mercy 
Of a rude stream that must forever hide me. 
Vain pomp and glory of the world, I hate ye ! 
I feel my heart new opened. Oh ! how wretched 
Is that poor man that hangs on princes' favors ! 
There is betwixt that smile we would aspire to, — 
That sweet aspect of princes, — and their ruin, 
More pangs and fears than wars or women have ; 
And when he falls, he falls like Lucifer, 
Never to hope again. 

Hatred and Defiance. 

18. 

[From "The Seminole's Defiance." — G. W. Patten.'] 

Blaze, with your serried columns ! 

I will not bend the knee ! 
The shackles ne'er again shall bind 

The arm which now is free. , 

I've mailed it with the thunder, 

When the tempest muttered low, 
And where it falls, ye well may dread 

The lightning of its blow ! 

I've scared ye in the city, 
I've scalped ye on the plain ; 



66 COMMON SCHOOL ELOCUTION. 

Go, count your chosen, where they fell 

Beneath my leaden rain ! 
I scorn your proffered treaty ! 

The pale-face I defy ! 
Revenge is stamped upon my spear, 

And blood my battle cry ! 

Supernatural. 

19, 

[From " Hamlet." — Shakespeare.'] 

Ghost. I am thy father's spirit ; 
Doomed for a certain term to walk the night ; 
And, for the day, confined to fast in fires, 
Till the foul crimes, done in my days of nature, 
Are burnt and purged away. But that I am forbid 
To tell the secrets of my prison-house, 
I could a tale unfold, whose lightest word 
Would harrow up thy soul ; freeze thy young blood ; 
Make thy two eyes, like stars, start from their spheres, 
Thy knotted and combined locks to part, 
And each particular hair to stand on end, 
Like quills upon the fretful porcupine : 
But this eternal blazon must not be 
To ears of flesh and blood : — List, list, O list ! — 
If thou didst ever thy dear father love. 

68. GUTTURAL QUALITY. 

1. The Guttural Quality (from gutter, throat) is a 
rough, harsh, grating, rattling, discordant sound pro- 
duced by a rigid compression of the muscles of the 



ILLUSTKATIONS IN NATURE. 67 

neck and partial closing of the throat above the glottis, 
with the resonance in the throat. 

2. The Guttural originates from an agitation of the 
most intense and malignant passions. The sound is cut 
off from communication with the chest by an ob- 
structed throat, as in a person suffering from intense 
rage. The sound issues apparently from the pharynx, 
or swallow, instead of the larynx. 

3. The Guttural Quality, in a modified form, is very 
prevalent among persons with large, flaccid, vocal or- 
gans and in the aged. Its use, except in the expres- 
sion of the appropriate passions, should be carefully 
avoided. 

69. ILLUSTRATIONS IN NATURE. 

The Guttural is illustrated in nature by the threaten- 
ing and growling utterances of the lower animals. 

70. Directions for Producing the Guttural Quality. 

1. Assume a somewhat relaxed position of the body, 
the shoulders leaning rather forward than backward, 
then compress and elevate the abdominal muscles, so 
as to throw the greatest amount of breath into the 
throat. Compress by a rigid contraction, the muscles 
about the throat and neck, and produce the sound of 
a, as in ah, in a grating tone, as if endeavoring to clear 
the pharynx of an accumulation of phlegm. 

2. Use this sound as a hey until you can instantly 
and correctly strike the Guttural on the long vowels, 

a, e, i, o, u. 



68 COMMON SCHOOL ELOCUTION. 



71, Additional Exercises. 






hate howl 


help 


out 


die aim 


old 


■ g° 


growl away 


over 


all 



72. LAW OF USE. 

The Guttural Quality, with various degrees of force, 
is used to express intense anger, hatred, contempt, 
scorn, loathing, malice and detestation. 

73. Examples: — 



Anger, Hatred, Revenge. 

20. 

[From "Death of Morris." — Scott.] 

" I could have bid you live," she said, " had life been to 
you the same weary and wasting burden that it is to me — 
that it is to every noble and generous mind. But j'ou — 
wretch ! you could creep through the world unaffected by 
its various disgraces, its ineffable miseries, its constantly 
accumulating masses of crime and sorrow, — you could live 
and enjoy yourself, while the noble-minded are betrayed, — 
while nameless and birthless villians tread on the neck of the 
brave and long descended, — you could enjoy yourself, like 
a butcher's dog in the shambles, battening on garbage, 
while the slaughter of the brave went on around you ! This 
enjoyment you shall not live to partake ; you shall die, base 
dog, and that before yon cloud has passed over the sun." 



EXAMPLES — GUTTURAL QUALITY. 69 

Intense Loathing, Hatred and Scorn. 
[From "The Seminole's Defiance." — G. W. Patten.] 

I loathe ye in my bosom, 

I scorn ye with mine eye, 
And I'll taunt ye with my latest breath, 

And fight ye till I die ! 
I ne'er will ask ye quarter, 

And I ne'er will be your slave ; 
But I'll swim the sea of slaughter, 

Till I sink beneath its wave ! 

Hatred, Contempt and Detestation. 

21. 

[From " Merchant of Venice." — Shakespeare."] 

JSJiy. To bait fish withal; if it will feed nothing else, 
it will feed my revenge. He hath disgraced me, and hin- 
dered me of half a million : laughed at my losses, mocked at 
my gains, scorned my nation, thwarted my bargains, cooled 
my friends, heated my enemies ; and what's his reason? — I 
am a Jew. Hath not a Jew eyes ? hath not a Jew hands, 
organs, dimensions, senses, affections, passions? — fed with 
the same food, hurt with the same weapons, subject to the 
same diseases, healed by the same means, warmed and 
cooled by the same winter and summer, as a Christian is ? 
If you prick us, do we not bleed? — if you tickle us, do we 
not laugh ? — if you poison us, do we not die ? and if you 
wrong us, shall we not revenge? If we are like you in the 
rest, we will resemble you in that. If a Jew wroDg a Chris- 
tian, what is his humility ? revenge ! If a Christian wrong a 
Jew, what should his sufferance be by Christian example? 



70 COMMON SCHOOL ELOCUTION. 

why, revenge! The villainy you teach me, I will execute! 
and it shall go hard but I will better the instruction. 

Scorn and Defiance. 

[From " Paradise Lost." — Milton.] 

Satan [to Death"]. "Whence and what art thou, execrable 
shape ! 
That dar'st, though grim and terrible, advance 
Thy miscreated front athwart my way 
To yonder gates ? Through them I mean to pass, — 
That be assured, — without leave asked of thee : 
Retire ! or taste thy folly ; and learn by proof, 
Hell-born! not to contend with spirits of heaven." 

Death [in reply]. " Back to thy punishment, 

False fugitive ! and to thy speed add wings ; 

Lest with a whip of scorpions I pursue 

Thy lingering, or, with one stroke of this dart, 

Strange horror seize thee, and pangs unfelt before ! yi 

74. ASPIRATE QUALITY. 

1. The Aspirate Quality is articulated breath, and 
ranges from a mere whisper to the least audible tones 
of the Plaintive, Pectoral and Guttural Qualities. 

2. The true aspirate is unmixed breath, but as the 
term is commonly used, it is combined with other ab- 
normal qualities to aid their intensity of utterance. 

3. The practice of the Aspirate Quality alone and in 
combination with other abnormal qualities, with Full 
Force, is highly beneficial in strengthening the vocal 
organs. 



EXAMPLES — ASPIRATE QUALITY. 71 

4. The use of this quality is indispensable in giving 
correct expression to sentiments arising from secrecy, 
caution, amazement and suppressed fear, and those in- 
tense emotions caused by an overwhelming dread and 
horror. 

75. ILLUSTRATIONS IN NATURE. 

The Aspirate Quality is illustrated in nature by the 
whispering of the winds, the hissing of serpents and 
the whirring sound made by certain birds when 
startled. 

76. Directions for Producing the Aspirate Quality. 

1. The simple Aspirate Quality is an unmodified 
whisper without vocality. To produce the Aspirate in 
combination with Plaintive, Pectoral, or Guttural, utter 
the sound of long o, first in Pure Tone, then gradually 
lower your pitch and aspirate the utterance so that the 
sound will partake largely of breath, and yet contain 
sufficient vocality to be heard across a large room. 

2. Practice this on the vowels a, e, t, o, u, until you 
can strike the four impure qualities at pleasure. 

77. LAW OF USE. 

The Aspirate Quality alone and in combination with 
other qualities is used to express secrecy, surprise, 
fear, caution, awe, dread and expiring life, 

78. Examples : Stillness. 

A Complete Wliisper. 
Hush! draw the curtain, — so ! 
She is dead, quite dead, you see. 



72 COMMON SCHOOL ELOCUTION. 

Poor little lady ! She lies 
With the light gone out of her eyes 5 
But her features still wear that soft, 
Gray, meditative expression 
Which you must have noticed oft. 



Whisper Mixed with Vocality. 

Hush ! 'tis a holy hour ! The quiet room 

Seems like a temple ; while yon soft lamp sheds 

A faint and starry radiance through the gloom 

And the sweet stillness down on bright young heads, 

With all their clustering locks untouched by care, 

And bowed, as flowers are bowed with night, in prayer. 



Fainting and Death. 

22. 

[From " Hamlet." — Shakespeare.] 

Ham. As thou'rt a man — 
Give me the cup — let go — by heaven, I'll have it. 
Oh, good Horatio, what a wounded name, 
Things standing thus unknown, shall live behind me ! 
If thou didst ever hold me in thy heart, 
Absent thee from f eh city awhile, 
And in this harsh world draw thy breath in pain, 
To tell my story. — 
Oh! I die, Horatio! 

The potent poison quite o'erthrows my spirit — 
The rest is silence. [Dies. 



EXAMPLES — ASPIRATE QUALITY. 73 

Fear, Terror, Remorse. 

Vocalized Breath. 

23. 

[From " Macbeth." — Shakespeare.] 

Is this a dagger which I see before me, 

The handle toward my hand ? Come, let me clutch thee : — 

I have thee not ; and yet I see thee still. 

Art thou not, fatal vision, sensible 

To feeling, as to sight? or art thou but 

A dagger of the mind ; a false creation, 

Proceeding from the heat-oppressed brain ? 

I see thee yet, in form as palpable 

As this which now I draw. 

Thou marshalPst me the way that I was going ; 

And such an instrument I was to use. 

Mine eyes are made the fools o' the other senses, 

Or else worth all the rest ; I see thee still ; 

And on thy blade, and dudgeon, gouts of blood, 

Which was not so before. — There's no such thing ; 

It is the bloody business, which informs 

Thus to mine eyes. — Now o'er the one half world 

Nature seems dead, and wicked dreams abuse 

The curtained sleep ; now witchcraft celebrates 

Pale Hecate's offerings ; and withered murder, 

Alarumed by his sentinel, the wolf, 

Whose howl's his watch, thus, with his stealthy pace, 

With Tarquin's ravishing strides, towards his design 

Moves like a ghost. 

Thou sure and firm-set earth, 
Hear not my steps, which way they walk, for fear 



74 COMMON SCHOOL ELOCUTION. 

The very stones prate of my whereabout, 

And take the present horror from the time, 

Which now suits with it. — Whiles I threat, he lives ; 

Words to the heat of deeds too cold breath gives. 

I go, and it is done ; the bell invites me. \_A bell rings. 

Hear it not, Duncan ; for it is a knell 

That summons thee to heaven, or to hell. 

79. NASAL QUALITY. 

1. The Nasal Quality (from nasus, the nose) is a 
harsh, thin, twangy tone, with the resonance in the 
nose. 

2. The Nasal is an abnormal quality, because its 
production arises from some vocal disability, as a cold, 
or a mal-formation of the organs of speech. 

3. The pupil will have no occasion for using the Na- 
sal except in mimicry or burlesque ; but a perfect com- 
mand of all the qualities requires a drill upon this, 
both for the purpose of personation and avoiding its 
use where improper. 

80. ILLUSTRATIONS IN NATURE. 

The Nasal Quality is illustrated in nature by the 
familiar " honk " of the wild goose. 

81. Directions for Producing the Nasal Quality. 

Place the organs in position to pronounce the sylla- 
ble on with high pitch : now depress the lower jaw and 
prolong the syllable ong, retaining the sound so as to 
cause the reverberation to be heard in the back part 
of the mouth and nose. 



EXAMPLES— NASAL QUALITY. 75 

82. LAW OF USE. 

The Nasal Quality is used in the mimicry of nasal 
speakers and in the personation of those suffering from 
catarrh. 

83. Examples : — 

[From " Darius Green and his Flying Machine."— J, T. Trowbridge.] 
• The birds can fly, 
An* why can't I? 
Must we give in, " 
Says he with a grin, 
" That the blue-bird an' phcebe 
• Are smarter 'n we be? 

" Jest fold our hands an' see the swaller 
An* blackbird an' cat-bird beat us holler? 
Does the little chattering sassy wren, 
No bigger' n my thumb, know more than men? 

Jest show me that ! 

Ur prove 't the bat 
Has got more brains than's in my hat, 
An' I'll back down, an' not till then." 

A Ker Chew Duet. 
24. 

They had been keeping company a year. He told her 
Friday afternoon that he would be up early Sunday evening, 
as he had something of great importance to tell her, and 
a present to give her. With a woman's keen intuition she 
knew what that something of importance would be, and she 
looked forward to the hour with sweet expectation. 

He was there on time, but hardly in the condition he de- 
sired. A heavy cold had tackled him the night before, and 



76 COMMON SCHOOL ELOCUTION. 

his eyes were red and inflamed, and his nose was nearly 
twice its usual size, and shone with a lustre that would have 
appeared to much better advantage on a door-plate. Singu- 
larly enough, the young lady was similarly conditioned. 
She ushered him into the parlor, and without any preliminary 
ceremony they were seated on the same sofa together. He 
took out his handkerchief and finding a dry section, wiped 
his nose. This reminded her of a duty she owed herself, 
and she attended to it at once. He held one of her hands 
in his, and his handkerchief in the other. Then he 
spoke : — 

"• Susad, I cub to dide to talk of subthig dearer — ah ah- 
ooh (a prompt application of the handkerchief cut off the 
sneeze in its bud) dearer to be thad libe — ah ah — thad 
id — oo-ooh-ker chew, ker chew, ker chew." A moment's 
pause. "I've god ad awful code," he explains, with due 
solemnity. 

" Sobe I," she replies. 

A moment is devoted to the silent use of handkerchiefs, 
and then he continues : — 

"Darlig, you bust hab seed all the tibe how mudge — 
ooh-oon-ker — (the handkerchief again saves him) how 
mudge I have thought ob you. Every hour ob the day or 
dide — ah-ah-ooh-ooh, ker chew, ker chew." 

She wiped her eyes — and then her nose, and made an 
honest endeavor to look languishingly, but owing to the 
watery condition of the former, and the fiery glow of the 
latter, she appeared to an unhappy advantage. But he did 
not notice it. 

" Susad," he began again, grasping her hand with fervor, 
and clutching his handkerchief with equal earnestness, 
"what is libe without love? Dothig. Darlig, do you, cad 
you love be edough to be by — ah-ah-ooh-chew ! " 



FALSETTO QUALITY. 77 



u 



You'll be bide, all bide? " he gasped. 

11 I will, Hedry, I will," she hoarsely whispered. 

He drew her to him, slipped the ring upon her finger, and 
there they stood together, their reddened and half closed 
eyes blinking in sweet, holy ecstasy upon each other. 

'* My poor darlig has god sudge a code," he sympathiz- 
ingly murmured. 

** So id my Hedry," she softly whispered back. 

" You must take sub bedicid for that code, to dide," she 
said. * 

" So bust you," he added. 

" Yes, ad you'll soak your feet in hod water? " 

" I will ; ad you'll soak yours? " he eagerly asked. 

"I will," she replied. 

" Heaved bless you, by darlig, by precious darlig," clasp- 
ing her again to his breast. And then he stole out into the 
darkness ; and she lingered a moment at the door, and heard 
his dear voice ring out on the night air as he passed away — 

" Ker chew, ker chew." 

84. FALSETTO QUALITY. 

1. The Falsetto Quality (from falsus, false) is a 
high, thin tone, pitched far above the natural, with the 
resonance in the head. 

2. In producing this quality of voice, the veil of 
the palate is raised very high and the uvula is forced 
into the veil, becoming completely hidden from view. 

85. ILLUSTRATIONS IN NATURE. 

The Falsetto is illustrated in nature by the sharp, 
shrill, shriek of the owl. 

86. Direction for Producing the Falsetto Quality. 

Begin on the sound of long o, with your natural 



78 COMMON SCHOOL ELOCUTION. 

pitch, and without changing the force, raise your pitch 
till the purity of voice breaks, and the quality that 
follows will be Falsetto. 

87. LAW OF USE. 

The Falsetto Quality, like the Nasal, is used in 
mimicry, to denote excitement, irritability, scolding, 
invective, mockery, fright, anger, pain and terror. 

88. Examples : Excitement, Indignation. 

The sisters they murmured of " shame," 

And " she hadn't oughter a let him ; 
No doubt she was mostly to blame." 

[" The Deacon's Story."] _ 

Fright, Scolding, and Terror. 

25. 

[From "The Lost Heir."— Thomas Hood.'] 

Billy — where are you, Billy, I say? come, Billy, come home 

to your best of mothers ! 
I'm scared when I think of them cabroleys, they drive so, 

they'd run over their own sisters and brothers. 
Or may be he's stole by some chimbly sweeping wretch, to 

stick fast in narrow flues and what not, 
And be poked up behind with a picked pointed pole, when 

the soot has ketched, and the chimbly' s red hot. 
Oh, I'd give the whole wide world, if the world was mine, to 

clap my two longin' eyes on his face, 
For he's my darlin' of darlins', and if he don't soon come 

back, you'll see me drop stone dead on the place. 
I only wish I'd got him safe in these two motherly arms, and 

wouldn't I hug him and kiss him ! 
Lawk ! I never knew what a precious he was, — but a child 

don't not feel like a child till you miss him. 



EXAMPLES FALSETTO QUALITY. 79 

Why there he is! Punch and Judy hunting, the young 

wretch, it's that Billy as sartin as sin! 
But let me get him home, with a good grip of his hair, and 

I'm blest if he shall have a whole bone in his skin ! 

Anger, Scolding and Fright. 
26. 

[From "The Country Justice."] 
Note. — The Justice uses a deep Orotund,*his wife the Falsetto. 
" The snow is deep," the Justice said ; 
11 There's mighty mischief overhead." 
" High talk, indeed ! " his wife exclaimed : 
" What, sir ! shall Providence be blamed? " 

The Justice, laughing, said, " Oh, no ! 

I only meant the loads of snow 

Upon the roofs. The barn is weak ; 

I greatly fear the roof will break. 

So hand me up the spade, my dear — 

I'll mount the barn, the roof to clear." 
" No ! " said the wife ; "the barn is high, 

And if you slip, and fall, and die, 

How will my living be secured? — 

Stephen, your life is not insured. 

But tie a rope your waist around, 

And it will hold you safe and sound." 
/ " I will," said he. "Now for the roof — 

All snugly tied and danger-proof ! 

Excelsior ! Excel — But no ! 

The rope is not secured below ! " 

Said Rachel, " Climb, the end to throw 

Across the top, and I will go 

And tie that end around my waist." 



80 COMMON SCHOOL ELOCUTION. 

" Well, every woman to her taste ; 
You always would be tightly laced. 
Eachel, when you became my bride, 
I thought the knot securely tied ; 
But lest the bond should break in twain. 
I'll have it fastened once again.' ' 

Below the arm-pits tied around, 

She takes her station on the ground, 

While on the roof, beyond the ridge, 

He shovels clear the lower edge. 

But, sad mischance ! the loosened snow 

Comes sliding down, to plunge below. 

And as he tumbles with the slide, 

Up Eachel goes on t'other side. 

Just half way down the Justice hung ; 

Just half way up the woman swung. 

,c Good land o' Goshen! " shouted she; 

" Why, do you see it? " answered he. 

The couple, dangling in the breeze, 
Like turkeys hung outside to freeze, 
At their rope's end and wit's end, too, 
Shout back and forth what best to do. 
Cried Stephen, ' ' Take it coolly, wife ; 
All have their ups and downs in life." 
Quoth Eachel, " What a pity 'tis 
To joke at such a time as this ! 
A man whose wife is being hung 
Should know enough to hold his tongue." 
" Now, Eachel, as I look below, 
I see a tempting heap of snow. 
Suppose, my dear, I take my knife, 
And cut the rope to save my life? " 
She shouted, " Don't! 'twould be my death' 



EXAMPLES FALSETTO QUALITY. 81 

I see some pointed stones beneath. 
A better way would be to call, 
With all our might for Phebe Hall." 
" Agreed! " he roared. First he, then she 
Gave tongue: "O Phebe! Phebe! Phe-e- 
be Hall! " in tones both fine and coarse, 
Enough to make a drover hoarse. 

Now Phebe, over at the farm, 

Was sitting, sewing, snug and warm ; 

But hearing, as she thought, her name, 

Sprang up, and to the rescue came, 

Beheld the scene, and thus she thought : — 
" If now a kitchen chair were brought, 

And I could reach the lady's foot, 

I'd draw her downward by the boot, 

Then cut the rope, and let him go ; 

He cannot miss the pile of snow." 

He sees her moving towards his wife, 

Armed with a chair and carving-knife, 

And, ere he is aware, perceives 

His head ascending to the eaves ; 

And, guessing what the two are at, 

Screams from beneath the roof, ' ' Stop that ! 

You make me fall too far, by half! " 

But Phebe answers with a laugh, 
" Please tell a body by what right 

You've brought your wife to such a plight? " 

And then, with well-directed blows, 

She cuts the rope and down he goes. 

The wife untied, they walk around, 
When lo ! no Stephen can be found. 
They call in vain, run to and fro ; 



82 COMMON SCHOOL ELOCUTION. 

They look around, above, below ; 
No trace or token can they see, 
And deeper grows the mystery. 
Then Rachel's heart within her sank ; 
But, glancing at the snowy bank, 
She caught a little gleam of hope — 
A gentle movement of the rope. 
They scrape away a little snow : — 
What's this? A hat! Ah! he's below. 
Then upward heaves the snowy pile, 
And forth he stalks in tragic style, 
Unhurt, and with a roguish smile ; 
And Rachel sees, with glad surprise, 
The missing found, the fallen rise. 

QUESTIONS ON ABNORMAL QUALITIES. 

1. To what moods is the human mind subject? 2. 
Define these terms according to Webster. 3. To what 
is the body subject? 4. What relation exists between 
the language and the emotions of mind and the varied 
conditions of the body? 5. What are termed Abnor- 
mal Qualities? Why? 6. Under what circumstances 
may two or more be combined? 7. Why are the Ab- 
normal Qualities called impure? 8. Why should the 
Abnormal Qualities be studied and practiced by the 
student of elocution? 9. Why is the attention of the 
pupil called particularly to the definition of the several 
Abnormal Qualities and the character of the sentiment 
contained in examples? 10. Define Plaintive Quality. 
11. What peculiarity is observed in producing the 



QUESTIONS ON ABNORMAL QUALITIES. 83 

Plaintive Quality? 12. How do you account for ex- 
alted emotions being expressed with an impure quality 
as in the case of the Plaintive? 13. Where in 
nature is this quality illustrated? 14. Give the direc- 
tion for producing the Plaintive Quality, 15. State 
its Law of Use. 16. State the observation made upon 
the affected use of the Plaintive Quality. 17. What 
caution is given regarding its use? 18. Name a selec- 
tion requiring the Plaintive Quality. 19. Define Pec- 
toral Quality. 20. What is said of the pitch and 
movement of the Pectoral Quality? 21. From what 
condition does it arise? 22. In what class of persons 
is it frequently exhibited? 23. What is the illustra- 
tion given from nature? 24. State the direction for 
producing the Pectoral Quality. 25. What is its Law 
of Use? 26. Name two examples not contained in the 
lesson requiring the Pectoral Quality, and tell why. 
27. Define the Guttural Quality. 28. What is the 
origin of the Guttural Quality? 29. Among whom is 
this quality quite prevalent? 30. What caution is 
given? 31. Where is the Guttural Quality illustrated 
in nature? 32. Give the direction for producing the 
Guttural Quality. 33. Which vowels are the best for 
illustrating the Guttural? 34. State the Law of Use 
of the Guttural Quality. 35. Why does a portion of 
" The Seminole's Defiance " require the Pectoral Qual- 
ity and another portion the Guttural Quality? 36. 
How do you account for the use of the Guttural by 
Shylockin the "Merchant of Venice? " 37. Define 
Aspirate Quality. 38. Why is the term used to rep- 



84 COMMON SCHOOL ELOCUTION. 

resent audible sound? 39. What benefit is derived 
from the practice of the Aspirate ? 40. Give the illus- 
trations of the Aspirate Quality in nature. 41. Give 
direction for producing Aspiration in combination 
with other Abnormal Qualities. 42. What is the Law 
of Use of the Aspirate Quality? 43. Define Nasal 
Quality. 44. Why is the Nasal classed as an Abnor- 
mal Quality? 45. Why should the pupil secure com- 
mand of the Nasal Quality? 46. Give the direction 
for producing the Nasal Quality. 47. State it3 Law 
of Use. 48. What is the cause of Nasal Quality? 
49. Define Falsetto Quality. 50. What position do 
the veil of the palate and the uvula assume in produc- 
ing the Falsetto Quality? 51. State the direction for 
producing the Falsetto. 52. Give the Law of its Use. 



89. FORCE. 



1. Force is the degree of energy with which sound 
is sent forth from the vocal organs. This energy 
depends upon the intensity of the emotions. [See 5 
Art. 89.] 

2. Force is not loudness. Words may be uttered 
with full force in a wmisper. Loudness depends partly 
upon force ; but there are other elements that con- 
tribute to make sounds loud or soft. These will be 
considered in their proper place. 

3. Volume, a term that siguifies the fullness or 
mellowness of tone, also depends, in part, upon the 
degree of force applied to the vocal organs. 



FORCE. 85 

4. Both loudness and volume depend upon the 
quantity of breath employed, a fact that proves the 
importance of a proper management of the breath in 
vocal culture. 

5. The. degree of force employed in the expression 
of the various sentiments and emotions corresponds, 
with one exception, to the strength of the sentiments or 
emotions that occasion speech. Sometimes we are so 
overpowered by passion, fright, or other overwhelming 
emotion, that the energy required to express our feel- 
ings is consumed in maintaining our very conscious- 
ness. 

6. Few subjects treated by the elocutionist are of 
greater importance in developing a full, deep, flexible, 
and powerful voice than that of force ; hence, prac- 
tice — much practice, and intelligent practice is essen- 
tial in this department of vocal culture. 

7. The pupil should increase his force by degrees. 
Sudden transitions are injurious to one not accustomed 
to a severe use of the voice. Every new acquisition of 
power will enable him to go beyond his present attain- 
ments. When that degree of force is obtained beyond 
which the voice cannot go without breaking, the effort 
to increase the force should be discontinued, and a few 
minutes' practice should be had with that degree of 
force. 

8. In the exercises following, avoid any change of 
pitch while increasing the force. If the pitch is raised, 
begin again with the element and endeavor to complete 
the fullest degree of force with the same pitch with 
which that element is begun. 



86 COMMON SCHOOL ELOCUTION. 

9. Repeat each element in all degrees of force before 
changing the pitch, then raise or lower the pitch and 
repeat the elements in the pitch selected. 

90. DIVISION OF FORCE. • 

Force may be divided into three classes, namely, 

Subdued Force, 

Moderate Force, 

Full Force, 
each of which, for convenience, may be further sub- 
divided into three degrees. 

91. Subdued Force. 

Subdued includes every degree of force employed 
in producing sound, from the least audible to the milder 
tones of conversation. 

92. Moderate Force. 

Moderate is the degree of force employed in ordi- 
nary conversation, unemotional description, and narra- 
tion. 

93. Full Force. 

Full Force, with various degrees of energy, is em- 
ployed in expressing the most violent and impetuous 
emotions and passions. 

94. Exercises. 

The pupil will repeat the long vowels a, e, i 9 o, u, 
with nine degrees of Force without change of pitch, 
as marked in the following diagram. Begin with the 



SUBDUED FORCE LAW OF USE. 



87 



least audible sound that can be uttered, and increase 
in intensity , not loudness, till the utmost energy is 
attained. 



Subdued 
Force 



Moderate 
Force 



u 



Full 
Force 



o u 



Eepeat the following words in the same manner, be- 
ing careful not to change the pitch : — 

lost mock log 

past path 



on 



car 



95. SUBDUED FORCE. LAW OF USE. 

Subdued Force is used in the expression of tender- 
ness, pathos, seriousness, solemnity, reverence, awe, 
melancholy and tranquillity, usually with Pure Tone. 



88 t COMMON SCHOOL ELOCUTION. 

90. Examples: Tenderness. 

27. 

[From "Absalom." —K. P. Willis.'] 

" Alas ! my noble boy, that thou shouldst die ! 
Thou, who wert made so beautifully fair ! 
That death should settle in thy glorious eye, 

And leave his stillness in this clustering hair ! 
How could he mark thee for the silent tomb, 
My proud boy, Absalom ! 

" Cold is thy brow, my son, and I am chill, 
As to my bosom I have tried to press thee. 
How was I wont to feel my pulses thrill, 

Like a rich harp string, yearning to caress thee, 
And hear thy sweet ' my father * from these dumb 
And cold lips, Absalom ! 

' ' The grave hath won thee. I shall hear the gush 
Of music, and the voices of the young : 
And life will pass me in its mantling blush, 

And the dark tresses to the soft winds flung, 
But thou no more, with thy sweet voice, shalt come 
To meet me, Absalom ! 

" And, O ! when I am stricken, and my heart, 
Like a bruised reed, is waiting to be broken, 
How will its love for thee, as I depart, 

Yearn for thine ear to drink its last deep token ! 
It were so sweet, amid death's gathering gloom, 
To see thee, Absalom ! 

" And now, farewell! 'T is hard to give thee up, 
With death, so like a gentle slumber, on thee ; 



EXAMPLES SUBDUED FORCE. 89 

And thy dark sin ! O ! I could drink the cup, 

If from this woe its bitterness had won thee. 
May God have called thee, like a wanderer, home, 
My erring Absalom! " 

Pathos. 

28. 

[From " The Dying Boy." — Mrs. Sigourney.'] 

It must be sweet in childhood, to give back 

The spirit to its Maker ; ere the heart 

Has grown f amiliar with the paths of sin, 

And sown, to garner up its bitter fruits. 

I knew a boy whose infant feet had trod 

Upon the blossoms of some seven springs, 

And when the eighth came round, and called him out 

To revel in its light, he turned away, 

And sought his chamber, to lie down and die. 

'Twas night ; he summoned his accustomed friends, 
And on this wise bestowed his last bequest : 

" Mother, I'm dying now! 
There's a deep suffocation in my breast, 
As if some heavy hand my bosom pressed : 

And on my brow, 

I feel the cold sweat stand ; 
My lips grow dry and tremulous, and my breath 
Comes feebly on. O ! tell me, is this death? " 

Seriousness, Solemnity, Tranquillity. 

29. 
[From "The Mountains of Life." — J". G. Clark.] 

There's a land far away, 'mid the stars, we are told, 
Where they know not the sorrows of time, — 



90 COMMON SCHOOL ELOCUTION. 

Where the pure waters wander through valleys of gold, 

And life is a treasure sublime ; 
'Tis the land of our God, 'tis the home of the soul, 
Where the ages of splendor eternally roll, — 
Where the way-weary traveler reaches his goal, 

On the evergreen Mountains of Life. 

Our gaze cannot soar to that beautiful land, 

But our visions have told of its bliss j 
And our souls by the gale from its gardens are fanned, 

When we faint in the desert of this ; 
And we sometimes have longed for its holy repose, 
When our spirits were torn with temptations and woes, 
And we've drank from the tide of the river that flows, 

From the evergreen Mountains of Life. 

Oh ! the stars never tread the blue heavens at night, 

But we think where the ransomed have trod ; 
And the day never smiles from his palace of light, 

But we feel the bright smile of our God. 
We are traveling homeward, through changes and gloom, 
To a kingdom where pleasures unceasingly bloom, 
And our guide is the glory that shines through the tomb, 
From the evergreen Mountains of Life. 

Eeverence and Awe. 

30. 

[From " God's First Temples." —Bryant.'] 

My heart is awed within me when I think 
Of the great miracle that still goes on, 
In silence, round me — the perpetual work 
Of thy creation, finished, yet renewed 
Forever. Written on thy works I read 



EXAMPLES — SUBDUED FORCE. 91 

The lesson of thy own eternity. 
Lo ! all grow old and die — but see again 
How on the faltering footsteps of decay 
Youth presses — ever gay and beautiful youth, 
In all its beautiful forms. These lofty trees 
Wave not less proudly that their ancestors 
Molder beneath them. 

Oh, there is not lost 
One of earth's charms: upon her bosom yet, 
After the flight of untold centuries, 
The freshness of her far beginning lies, 
And yet shall lie. Life mocks the idle hate 
Of his arch enemy Death — yea, seats himself 
Upon the tyrant's throne, the sepulchre, 
And of the triumphs of his ghastly foe 
Makes his own nourishment. For he came forth 
From thine own bosom, and shall have no end. 

Melancholy. 

[From " Hamlet's Soliloquy." — Shakespeare.'] 

Subdued and Moderate Force. 

31. 

To be, or not to be ? That is the question : 
Whether 'tis nobler in the mind to suffer 
The slings and arrows of outrageous fortune, 
Or to take arms against a sea of troubles, 
And, by opposing, end them? To die ; to sleep ; 
No more : and, by a sleep, to say we end 
The heart-ache, and the thousand natural shocks 
That flesh is heir to : 'tis a consummation 



92 COMMON SCHOOL ELOCUTION. 

Devoutly to be wished. To die ; to sleep ; 

To sleep ! perchance to dream ! — ay, there's the rub ; 

For in that sleep of death what dreams may come, 

When we have shuffled off this mortal coil, 

Must give us pause. There's the respect 

That makes calamity of so long life ; 

For who would bear the whips and scorns of time, 

The oppressor's wrong, the proud man's contumely, 

The pangs of despis r ed love, the law's -delay, 

The insolence of office, and the spurns 

That patient merit of the unworthy takes, 

When he himself might his quietus make 

With a bare bodkin ? Who would fardels bear, 

To groan and sweat under a weary life, 

But that the dread of something after death, — 

That undiscover'd country, from whose bourn 

No traveler returns, — puzzles the will, 

And makes us rather bear the ills we have, 

Than fly to others that we know not of? 

Thus conscience does make cowards of us all ; 

And thus the native hue of resolution 

Is sicklied o'er with the pale cast of thought ; 

And enterprises of great pith and moment, 

With this regard their currents turn awry, 

And lose the name of action. 

97. MODERATE FORCE. LAW OF USE. 

Moderate Force is employed in the expression of 
narrative, descriptive and didactic thought, and may 
be used to express the milder forms of sublimity, 
solemnity, grandeur and devotion. 



EXAMPLES MODERATE FORCE. 93 

98. Examples: Narration. 

32. 

[From "Cromwell's Expulsion of the Parliament."— Lingard.] 

At this eventful moment, big with the most important 
consequences to himself and his country, whatever were the 
workings of Cromwell's mind, he had the art to conceal 
them from the eyes of the beholders. Leaving the military 
in the lobby, he entered the Parliament House and com- 
posedly seated himself on one of the outer benches. His 
dress was a plain suit of black cloth, with gray worsted 
stockings. For a while he seemed to listen with interest to 
the debate, but when the Speaker was going to put the 
question, he whispered to Harrison, " This is the time ; I 
must do it;" and rising, put off his hat to address the 
House. 

At first his language was decorous, and even laudatory. 
Gradually he became more warm and animated. At last 
he assumed all the vehemence of passion, and indulged in 
personal vituperation. He charged the members with self- 
seeking and profaneness, with the frequent denial of justice 
and numerous acts of oppression ; with idolizing the lawyers, 
the constant advocates of tyranny ; with neglecting the men 
who had bled for them in the field, that they might gain the 
Presbyterians, who had apostatized from the cause; and 
with doing all this in order to perpetuate their own power, 
and to replenish their own purses. But their time was 
come; the Lord had disowned them; he had chosen more 
worthy instruments to perform his work. 

Here the orator was interrupted by Sir Peter Wentworth, 
who declared that he had never heard language so unpar- 
liamentary — language, too, the more offensive because it 



94 COMMON SCHOOL ELOCUTION. 

was addressed to them by their own servant, whom they had 
made what he was. At these words Cromwell put on his 
hat, and springing from his place, exclaimed, " Come, come, 
sir, I will put an end to your prating ! " For a few seconds, 
apparently in the most violent agitation, he paced forward 
and backward, and then stamping on the floor, added, ' ' You 
are no Parliament ! I say you are no Parliament ! Bring 
them in, bring them in! Instantly the door opened, and 
Colonel Worsley entered, followed by -more than twenty 
musketeers. 

"This," cried Sir Henry Vane, "is not honest; it is 
against morality and common honesty." "Sir Henry 
Vane," replied Cromwell; "oh, Sir Henry "Vane! The 
Lord deliver me from Sir Henry Vane! He might have 
prevented this, but he is a juggler, and has not common 
honesty himself ! ' ' From Vane he directed his discourse 
to Whitelock, on whom he poured a torrent of abuse ; then 
pointing to Chaloner, "There," he cried, "sits a drunk- 
ard! " and afterward selecting different members in succes- 
sion, he described them as dishonest and corrupt livers, a 
shame and scandal to the profession of the Gospel. 

Suddenly, however, checking himself, he turned to the 
guard, and ordered them to clear the House. At these 
words Colonel Harrison took the Speaker by the hand and 
led him from Jthe chair ; Algernon Sydney was next com- 
pelled to quit his seat; and the other members, eighty in 
number, arose and moved toward the door. Cromwell now 
resumed his discourse. "It is 3 7 ou," he exclaimed, "that 
have forced me to do this. I have sought the Lord both 
day and night, that he would rather slay me than put me on 
the doing of this work." 

Alderman Allan took advantage of these words to observe 
that it was not yet too late to undo what had been done ; 



EXAMPLES MODERATE FORCE. 95 

but Cromwell instantly charged him with peculation, and 
gave him into custody. When all were gone, fixing his eye 
on the mace, ''What," said he, " shall we do with this fool's 
bawble? Here, carry it away." Then taking the act of 
dissolution from the clerk, he ordered the doors to be locked, 
and accompanied by the military, returned to Whitehall. 

That afternoon the members of the Council assembled in 
their usual place of meeting. Bradshaw had just taken the 
chair, when the Lord-General entered and told them that 
if they were there as private individuals, they were welcome, 
but if as the Council of State, they must know that the 
Parliament was dissolved, and with it also the Council. 
"Sir," replied Bradshaw, with the spirit of an ancient 
Roman, "we have heard what you did at the House this 
morning, and before many hours all England will know it. 
But sir, you are mistaken to think that the Parliament is 
dissolved. No power under heaven can dissolve it but 
itself; therefore, take you notice of that." 

After this protest they withdrew. Thus, by the parricidal 
hands of its own children, perished the Long Parliament, 
which, under a variety of forms, had for more than twelve 
years defended and invaded the liberties of the nation. It 
fell without a struggle or a groan, unpitied and unregretted. 
The members slunk away to their homes, where they sought 
by submission to 'purchase the forbearance of their new 
master ; and their partizans — if partizans they had — re- 
served themselves in silence for a day of retribution, which 
came not before Cromwell slept in his grave. 

Description. 

33. 

[" The Cathedral at Milan." —Mark Twain] 

Toward dusk we drew near Milan, and caught glimpses 

pf the city and the blue mountain peaks beyond. But 



96 COMMON SCHOOL ELOCUTION. 

we were not caring for these things — they did not interest 
us in the least. We were in a fever of impatience; we 
were dying to see the renowned cathedral! We watched 
in this direction and that — all around — everywhere. We 
needed no one to point it out — we did not wish any one to 
point it out — we would recognize it, even in the desert of 
the great Sahara. 

At last a forest of graceful needles, shimmering in the 
amber sunlight, rose slowly above the pigmy house-tops, as 
one sometimes sees, in the far horizon, a gilded and pinnacled 
mass of cloud lift itself above the waste of waves at sea — 
the Cathedral ! We knew it in a moment. 

Half of that night, and all of the next day, this archi- 
tectural autocrat was our sole object of interest. What a 
wonder it is ! So grand, so solemn, so vast ! And yet' so 
delicate, so airy 7 , so graceful ! A very world of solid weight' ; 
and yet it seems, in the soft moonlight, only a fairy delusion 
of frost-work, that might vanish with a breath'! How 
sharply its pinnacled angles and its wilderness of spires were 
cut against the sk}^ ; and how richly their shadows fell upon 
its snowy roof! It was a vision'! a miracle'! an anthem 
sung in stone, a poem wrought in marble' ! 

Howsoever you look at the great Cathedral, it is noble, 
it is beautiful! Wherever you stand in Milan, or within 
seven miles of Milan, it is visible — and when it is visible, no 
other object can claim your whole attention. Leave your 
eyes unfettered by your will but a single instant, and they 
will surely turn to seek it. It is the first thing you look for 
when you rise in the morning, and the last your lingering 
gaze rests upon at night. Surely it must be the most 
princely creation that ever brain of man conceived. 

At nine o'clock in the morning we went and stood before 
this marble colossus. The central one of its five great 



EXAMPLES MODERATE FORCE. 97 

doors is bordered with a bas-relief of birds, and fruits, and 
beasts, and insects, which have been so ingeniously carved 
out of marble that they seem like living creatures ; and the 
figures are so numerous, and the designs so complex, that 
one might study it a week without exhausting its interest. 

On the great steeple — surmounting the myriad of 
spires — inside of the spires — over the doors, the win- 
dows — in nooks and corners — everywhere that a niche or a 
perch can be found about the enormous building, from sum- 
mit to base, there is a marble statue, and every statue is a 
study in itself! Kaphael, Angelo, Canova — giants like 
these gave birth to the designs, and their own pupils carved 
them. Every face is eloquent with expression, and every 
attitude is full of grace. Away above, on the lofty roof, 
rank on rank of carved and fretted spars spring high in the 
air, and through their rich tracery one sees the sky beyond. 
In their midst the centre steeple towers proudly up like the 
main-mast of some great Indiaman among a fleet of coasters. 

We wished to go aloft. The sacristan showed us a mar- 
ble stairway (of course it was marble, and of the purest 
and whitest — there is no other stone, no brick, no wood, 
among its building materials), and told us to go up one hun- 
dred and eighty-two steps, and stop till he came. It was 
not necessary to say stop — we should have done that any 
how. We were tired by the time we got there. 

This was the roof. Here, springing from its broad mar- 
ble flagstones were the long files of spires, looking very 
tall close at hand, but diminishing in the distance like the 
pipes of an organ. We could see, now, that the statue on 
the top of each was the size of a large man, though they all 
looked like dolls from the street. We could see, also, 
from the inside of each and every one of these hollow spires, 

7 



98 COMMON SCHOOL ELOCUTION. 

from sixteen to" thirty-one beautiful marble statues looking 
out upon the world below. 

From the eaves to the comb of the roof stretched in end- 
less succession, great curved marble beams, like the fore 
and aft braces of a steamboat ; and along each beam, from end 
to end, stood up a row of richly carved flowers and fruits — 
each separate and distinct in kind, and over fifteen thousand 
species represented. At a little distance these rows seem to 
close together like the ties of a railroad track ; and then the 
mingling together of the buds and blossoms of this marble 
garden forms a picture of exceeding beauty. 

"We descended and entered. Within the church, long 
rows of fluted columns, like huge monuments, divided the 
building into broad aisles ; and on the figured pavement fell 
many a soft blush from the painted windows above. I knew 
the church was very large, but I could not fully appreciate 
its great size until I noticed that the men standing far down 
by the altar looked like boys, and seemed to glide rather 
than walk. 

We loitered about, gazing aloft at the monster windows 
all aglow with brilliantly colored scenes in the lives of 
the Savior and his followers. Some of these pictures are 
mosaics ; and so artistically are their thousand particles of 
tinted glass or stone put together, that the work has all the 
smoothness and finish- of a painting. We counted sixty 
panes of glass in one window, and each pane was adorned 
with one of these master achievements of genius and patience. 

For the purpose of viewing the treasures of the church, 
we followed a priest into a large room filled with tall wooden 
presses like wardrobes. He threw them open, and behold ! 
the cargoes of crude bullion of the assay offices of Nevada 
faded out of my memory. There were Virgins and bishops 
there, above their natural size, made of solid silver, each 



EXAMPLES MODERATE FORCE. 99 

•worth, by weight, from one hundred and sixty thousand to 
three hundred thousand dollars, and bearing gemmed books 
in their hands worth fifteen thousand : there were bas-reliefs 
that weighed six hundred pounds, carved in solid silver; 
crosiers and crosses, and candlesticks six and eight feet high, 
all of virgin gold, and brilliant with precious stones: and 
beside these were all manner of cups and vases, and other 
things, rich in proportion. It was an Aladdin's palace! 
The treasures here, by simple weight, without counting 
workmanship, were valued at ten millions of dollars ! 

I like to revel in the dryest details of the great cathe- 
dral. The building is nearly five hundred feet long, by 
three hundred feet wide ; and the principal steeple is in the 
neighborhood of four hundred feet high. It has more than 
seven thousand marble statues, and will have upward of 
three thousand more when it is finished. In addition, it has 
one thousand five hundred bas-reliefs. It has one hundred 
and thirty-six spires — twenty-one more are to be added. 
Each spire is surmounted by a statue six and a half feet 
high. It is estimated that it will take a hundred and twenty 
years yet to finish the cathedral; and already the mere 
workmanship alone has cost considerably over a hundred 
millions of dollars. The building looks complete, but is far 
from being so. We saw a new statue put in its niche yes- 
terday, alongside of one which had been standing these four 
hundred years. 

There are four staircases leading up to the main steeple, 
each of which, with the four hundred and eight statues 
which adorn them, cost a hundred thousand dollars. Marco 
Campioni was the architect who designed this wonderful 
structure, more than five hundred years ago; and it took 
him forty-six years to work out the plan, and get it ready to 
hand over to the builders. The building was begun a little 



100 COMMON SCHOOL ELOCUTION. 

less than five hundred years ago ; and the third generation 
hence will not see it completed. 

Didactic. 
34. 

["Haste Not— Rest Not." — Goethe.'] 

" Without haste ! without rest I" 
Bind the motto to thy breast ! 
Bear it with thee as a spell ; 
Storm or sunshine, guard it well ! 
Heed not flowers that round thee bloom, 
Bear it onward to the tomb ! 

Haste not — let no thoughtless deed 
Mar for e'er the spirit's speed ; 
Ponder well and know the right, 
Onward then, with all thy might ; 
Haste not — years can ne'er atone 
For one reckless action done ! 

Rest not ! life is sweeping by, 
Do and dare before you die ; 
Something mighty and sublime 
Leave behind to conquer time ; 
Glorious 'tis to live for aye 
When these forms have passed away. 

Haste not! rest not! calmly wait, 
Meekly bear the storms of fate ; 
Duty be thy polar guide — 
Do the right, whate'er betide ! 
Haste not — rest not — conflicts past, — 
God shall crown thy work at last. 



EXAMPLES — MODERATE FORCE. 101 

Solemnity. 

35. 

["Break, Break, Break." — Tennyson.'] 

Break, break, break, 
On thy cold, gray stones, O Sea ! 
And I would that my tongue could utter 
The thoughts that arise in me. 

Oh, well for the fisherman's boy 

That he shouts with his sister at play ! 

Oh, well for the sailor-lad 
That he sings in his boat on the bay ! 

And the stately ships go on, 

To the haven under the hill ; 
But oh, for the touch of a vanished hand, 

And the sound of a voice that is still ! 

Break, break, break, 
At the foot of thy crags, O Sea ! 
But the tender grace of a day that is dead 
Will never come back to me. 

99. FULL FORCE. LAW OF USE. 

Full Force is employed in the expression of joy, gladness, 
defiance, anger, profound sublimity, and grandeur, and in the 
delivery of political, senatorial, and judicial speeches of an 
exalted oratorical character. 

100. Examples : Joy and Gladness. 

[From " Boy Britton." — Wilson.'] 

" See, Boy Brit6*n, see, boy, see! 
They strike ! hurrah ! the fort has surrendered ! 



102 COMMON SCHOOL ELOCUTION. 

Shout ! shout, my warrior boy ! 
And wave your cap, and clap your hands with joy ! 
Cheer answer cheer, and bear the cheer about — 

Hurrah ! hurrah ! ' ' 



Defiance and Anger. 

[From " Marmion and Douglas." — Scott.'] 

36. 

Not far advanced was morning day, 
When Marmion did his troop array 

To Surrey's camp to ride ; 
He had safe conduct for his band, 
Beneath the royal seal and hand, 

And Douglas gave a guide. 
The train from out the castle drew ; 
But Marmion stopped to bid adieu : — 

" Though something I might plain," he said, 
" Of cold respect to stranger guest, 
Sent hither by your king's behest, 

While in Tantallon's towers I staid ; 
Part we in friendship from your land, 
And, noble earl, receive my hand." 
But Douglas round him drew his cloak, 
Folded his arms, and thus he spoke : — 
"My manors, halls, and bowers, shall still 
Be open at my sovereign's will, 
To each one whom he lists, howe'er 
Unmeet to be the owner's peer: 
My castles are my king's alone, 
From turret to foundation-stone, — a 
The hand of Douglas is his own ; 
And never shall in friendly grasp 



EXAMPLES FULL FORCE. 103 

The hand of such as Marmion clasp." 
Burned Marmion' s swarthy cheek like fire, 
And shook his very frame for ire, 

And — " This tome!" he said : 
"An 't were not for thy hoary beard, 
Such hand as Marmion' s had not spared 

To cleave the Douglas' head ! 
And first, I tell thee, haughty Peer, 
And who does England's message here, 
Although the meanest in her state, 
May well, proud Angus, be thy mate : 
And, Douglas, more I tell thee here, 

Even in thy pitch of pride, 
Here in thy hold, thy vassals near 
(Nay, never look upon your lord, 
And lay your hands upon your sword), 

I tell thee, thou'rt defied ! 
And if thou saidst, I am not peer 
To any lord in Scotland here, 
Lowland or Highland, far or near, 

Lord Angus, thou hast lied! " 
On the Earl's cheek the flush of rage 
O'er came the ashen hue of age ; 
Fierce he broke forth : — "And darest thou then 
To beard the lion in his den, 

The Douglas in his hall? 
And hop'st thou hence unscathed to go? 
No, by Saint Bride of Bothwell, no ! 
Up drawbridge, grooms! — what, warder, ho! 

Let the portcullis fall." 
Lord Marmion turned, — well was his need, 
And dashed the rowels in his steed, 
Like arrow through the archway sprung, 



104 COMMON SCHOOL ELOCUTION. 

The ponderous gate behind him rung ; 
To pass there was such scanty room, 
The bars, descending, razed his plume. 

Sublimity and Grandeur. 

["The Sublimity of God." — From Psalm CIV.] 

37. 

Mildest Form of Full Force-. 

24. O Lord, how manifold are thy works ! in wisdom hast 
thou made them all : the earth is full of thy riches. 

25. So is this great and wide sea, wherein are things 
creeping innumerable, both small and great beasts. 

26. There go the ships : there is that leviathan, whom thou 
hast made to play therein. 

27. These wait all upon thee, that thou mayest give them 
their meat in due season. 

28. That thou givest them they gather; thou openest 
thine hand, they are filled with good. 

29. Thou hidest thy face, they are troubled: thou takest 
away their breath, they die, and return to their dust. 

30. Thou sendest forth thy spirit, they are created ; and 
thou renewest the face of the earth. 

31. The glory of the Lord shall endure forever: the Lord 
shall rejoice in his works. 

32. He looketh on the earth, and it trembleth ; he toucheth 
the hills, and they smoke. 

Senatorial Oration. 



[" Free Discussion." — Tristam Burges.~\ 
Sir, admit — for we must admit — that free discussion 



EXAMPLES — FULL FORCE. 105 

has ever been odious to the tyrant, and to all the minions 
of licentious power ; but can we ever forget how eloquent, 
how enchanting the voice of that same freedom of speech 
has, in all ages, been, wherever its tones have fallen on the 
ear of freemen ? 

Free discussion, and liberty itself, eloquence and freedom 
of speech, are contemporaneous fires, and brighten and blaze, 
or languish and go out, together. Athenian liberty was, for 
years, protracted by that free discussion, which was sus- 
tained and continued in Athens. Freedom was prolonged by 
eloquence. Liberty paused and lingered, that she might 
listen to the divine intonations of her voice. Free discussion, 
the eloquence of one man, rolled back the tide of Macedonian 
power, and long preserved his country from the overwhelm- 
ing deluge. 

When the light of free discussion had, throughout all the 
Grecian cities, been extinguished in the blood of those 
statesmen by whose eloquence it had been sustained, young 
Tully, breathing the spirit of Eoman liberty on the expiring 
embers, relumed and transmitted, from the banks of the 
Dissus to those of the Tiber, this glorious light of freedom. 
This mighty master of the forum, by his free discussions, 
both from the rostrum and in the senate-house, gave new 
vigor, and a longer duration of existence, to the liberty of 
his country. Who, more than Marcus Tullius Cicero, was 
loved and cherished by the friends of that country? Who 
more feared and hated by traitors and tyrants? 

Freedom of speech, Roman eloquence, Roman liberty, ex- 
pired together, when, under the proscription of the second 
triumvirate, the hired bravo of Mark Antony placed in the 
lap of one of his profligate minions the head and the hands of 
Tully, the statesman, the orator, the illustrious father of his 
country. After amusing herself some hours by plunging her 



106 COMMON SCHOOL ELOCUTION. 

bodkin through that tongue which had so long delighted the 
senate and the rostrum, and made Antony himself tremble in 
the midst of his legions, she ordered that head and those 
hands, then the trophies of a savage despotism, to be set up 
in the forum. 

"Her last good man, dejected Rome adored; 
Wept for her patriot slain, and cursed the tyrant's sword." 

Judicial Speeches. 

39. 

["Trial of Warren Hastings." — Edmund Burke.] 

My Lords, I have done! The part of the Commons is 
concluded ! With a trembling hand, we consign the prod- 
uct of these long, long labors to your charge. Take it! 
Take it ! It is a sacred trust ! Never before was a cause 
of such magnitude submitted to any human tribunal ! 

My Lords, at this awful close, in the name of the Com- 
mons, and surrounded by them, I attest the retiring, I attest 
the advancing generations, between which, as a link in the 
chain of eternal order, we stand. We call this nation, we 
call this world to witness, that the Commons have shrunk 
from no labor ; that we have been guilty of no prevarica- 
tions ; that we have made no compromise with crime ; that 
we have not feared any odium whatsoever, in the long war- 
fare which we have carried on with the crimes, the vices, the 
exorbitant wealth, the enormous and overpowering influence 
of Eastern corruption. 

A business which has so long occupied the councils and 
tribunals of Great Britain cannot possibly be hurried over 
in the course of vulgar, trite, and transitory events. Noth- 
ing but some of those great Revolutions that break the 



EXAMPLES FULL FORCE. 107 

traditionary chain of human memory, and alter the very 
face of nature itself, can possibly obscure it. M}*- Lords, we 
are all elevated to a degree of importance by it. The mean- 
est of us will, by means of it, become more or less the con- 
cern of posterity. 

My Lords, your House yet stands ; it stands a great edi- 
fice ; but, let me say, it stands in the midst of ruins — in 
the midst of ruins that have been made by the greatest 
moral earthquake that ever convulsed and shattered this 
globe of ours. My Lords, it has pleased Providence to place 
us in that state, that we appear every moment to be on the 
verge of some great mutation. There is one thing, and one 
thing only, that defies mutation — that which existed before 
the world itself. I mean Justice ; that justice which, ema- 
nating from the Divinity, has a place in the breast of every 
one of us, given us for ojir guide with regard to ourselves, 
and with regard to others ; and which will stand after this 
globe is burned to ashes, our advocate or our accuser before 
the great Judge, when he comes to call upon us for the tenor 
of a well-spent life. 

My Lords, the Commons will share in every fate with your 
Lordships. There is nothing sinister which can happen to 
you in which we are not involved. And if it should so hap- 
pen that your Lordships, stripped of all the decorous dis- 
tinctions of human society, should, by hands at once base 
and cruel, be led to those scaffolds and machines of murder 
upon which great kings and glorious queens have shed their 
blood, amid the prelates, the nobles, the magistrates who 
supported their thrones, may you in those moments feel that 
consolation which 1 am persuaded they felt in the critical 
moments of their dreadful agony. 

My Lords, if you must fall, may you so fall ! But if you 
stand — and stand I trust you will, together - with the for- 



108 COMMON SCHOOL ELOCUTION. 

tunes of this ancient monarchy ; together with the ancient 
laws and liberties of this great and illustrious kingdom — 
may you stand as unimpeached in honor as in power ! May 
you stand, not as a substitute for virtue ; may you stand, 
and long stand, the terror of tyrants ; may you stand, the 
refuge of afflicted nations ; may you stand, a sacred temple 
for the perpetual residence of inviolable Justice. 



"The Plea of State Necessity." 

40. 

[From "Trial of Warren Hastings.'* — Sheridan.'] 

"Driven from every other hold, the prisoner is obliged 
to resort, as a justification of his enormities, to the stale 
pretext of State Necessity! Of this last disguise it is my 
duty to strip him. 

' ' I will venture to say, my Lords, that no one instance of 
real necessity can be adduced. The necessity which the 
prisoner alleges listens to whispers for the purpose of crimi- 
nation, and deals in rumor to prove its own existence. His 
a State Necessity! No, my Lords, that imperial tyrant, 
genuine State Necessity, is yet a generous despot — and 
when he acts he is bold in his demeanor, rapid in his deci- 
sions, though terrible in his grasp. What he does, my 
Lords, he dares avow ; and avowing, scorns any other justi- 
fication than the high motives which placed the iron sceptre 
in his hands. 

"Even when its rigors are suffered, its apology is also 
known ; and men learn to consider it in its true light, as a 
power which turns occasionally aside from just government, 
when its exercise is calculated to prevent greater evils than 
it occasions. But a quibbling, prevaricating necessity, which 



EXAMPLES FULL FORCE. 109 

tries to steal a pitiful justification from whispered accusa- 
tions and fabricated rumors — no, my Lords, that is no State 
Necessity ! Tear off the mask, and you see coarse, vulgar 
avarice lurking under the disguise. 

"The State Necessity of Mr. Hastings is a juggle. It is 
a being that prowls in the dark. It is to be traced in the 
ravages which it commits, but never in benefits conferred or 
evils prevented. I can conceive justifiable occasions for the 
exercise even of outrage, where high public interests demand 
the sacrifice of private right. If any great man, in bearing 
the arms of his country — if any admiral, carrying the ven- 
geance and the glory of Britain to distant coasts, should be 
driven to some rash acts of violence, in order, perhaps, to 
give food to those who are shedding their blood for their 
country — there is a State Necessity in such a case, grand, 
magnanimous, and all-commanding, which goes hand in hand 
with honor. 

"If any great general, defending some fortress, barren, 
perhaps, itself, but a pledge of the pride and power of 
Britain — if such a man, fixed like an imperial eagle on the 
summit of a rock, should strip its sides of the verdure and 
foliage with which it might be clothed, while covered on the 
top with that cloud from which he was pouring down his 
thunders on the foe — would he be brought by the House of 
Commons to your bar? No, my Lords, never would his 
grateful and admiring countrymen think of questioning 
actions which, though accompanied by private wrong, yet 
were warranted by real necessity. But is the State Neces- 
sity which is pleaded by the prisoner, in defence of his con- 
duct, of this description? I challenge him to produce a 
single instance in which any of his private acts were produc- 
tive of public advantage, or averted impending evil."" 



110 COMMON SCHOOL ELOCUTION. 

101. SUSTAINED FORCE. 

In addressing large assemblies, and in calling and 
commanding, the Full Force is sustained for some 
moments, according to the size of the audience, or 
distance to which the voice is to be heard. 

102. Examples: Speaking to Great Numbers. 

Fellow Citizens : It — is — no — ordinary — cause. — 
that — has — brought — together — this — vast — as- 
semblage — on — the — present — occasion. 

Calling. 

Young men, — ahoy ! 

O — v— e — r! 

Ship, — ahoy ! Send — a — boat I 

Commanding. 

Forward, — the — Light Brigade ! 
Charge — for — the — guns * 

And lo ! from the assembled crowd 
There rose a shout, prolonged and loud, 
That to the ocean seemed to say, 

" Take — her, — oh — bridegroom — old — and — gray, 
Take — her — to — thy — protecting — arms, 
"With — all — her — youth — and — all — her — charms." 

— {Longfellow. 

QUESTIONS ON FORCE. 

1. Define Force. 2. What is the difference between 
Force and loudness ? 3. What is Volume? 4. Upon 



STRESS. Ill 

what does Volume depend? 5. With what does the 
degree of Force correspond? 6. What exception to 
this is mentioned? 7. What may be said of Force as 
an element in vocal expression? 8. What direction 
is given to the pupil regarding the practice of Force ? 
9. State the caution regarding change of pitch while 
practicing on Force. 10. What are the divisions of 
Force? 11. What does Subdued Force include? 12. 
Where is Moderate Force employed? 13. Where is 
Full Force used ? 14. Repeat the direction for exer- 
cising in Force. 15. When is Subdued Force appro- 
priately used? 16. Name the selections requiring 
Subdued Force. 17. Name two not contained in the 
lessons. 18. When is Moderate Force required ? 19. 
Name the selections and their authors in which Moder- 
ate Force is employed. 20. When is Full Force prop- 
erly used? 21. Name the selections and their authors 
given. 22. When is Sustained Force employed? 



103. STRESS. 



1. Stress is the application of Force to some particu- 
lar part of a syllable or word. 

2. Stress differs from accent in this particular : 
stress is limited to only a part of a syllable, while ac- 
cent includes the entire syllable. 

3. In the utterance of an elementary sound which 
consists of but a single impulse of the voice, the force 
may lie prominently on the first or on the last part, on 
the middle or on both extremes, or it may be distrib- 
uted with an equal degree throughout the sound. 



112 COMMON SCHOOL ELOCUTION. 

4. The divisions of stress are, 

Radical, Median, Final. 

Compound, Thorough, Intermittent. 

104. RADICAL STRESS. 

1. Radical Stress (|^^^ ^) * s the application 
of Force to the first part of a syllable or word. 

2. In applying this stress to a word the sound will 
burst instantaeously upon the first part of the syllable, 
and the succeeding part of the syllable will be uttered 
with a slight aspiration if the vocal organs are not 
under perfect control. 

105. LAW OF USE. 

The degree of Radical Stress is determined by the 
intensity of emotion. It is used, first, to express nar- 
rative, didactic , and descriptive thought ; and, second, 
to express sudden anger, fear, impetuous and startling 
emotions ; and, third, in the delivery of vigorous and 
earnest argument. 

106. Exercises in Stress : — 

act after all arms 

up back die march 

terror run fall go 

107. Examples: Description. 

41. 

[From "The Bachelors." — Anon.~\ 

The naturalists say that these singular creatures 

Are alike in their habits, their form and their features ; 



EXAMPLES RADICAL STRESS. 113 

The Benedicks think that their senses are small, 
Whilst women affirm they have no sense at all, 
But are curious compounds of very strange' stuff, 
Inflexible, hard, and exceedingly tough : — 
The old ones have wigs', and the young ones have hair, 
And they scent it r , and curl it', and friz it with care, 
And turn it to dark' should it chance to be fair. 

They are ramblers' and wanderers, never at home, 
Making sure of a welcome wherever they roam ; 
And every one knows that the Bachelor's den 
Is a room set apart for these singular men — 
A nook in the clouds, perhaps five by four, 
Though sometimes, indeed, it may be rather more — 
With skylight, or no light, ghosts, goblins, and gloom, 
And everywhere known as the Bachelor's Room. 

These creatures, 'tis said, are not valued at all, 

Except when the herd # give a Bachelor's ball ; 

Then dress' d in their best, in their gold-broidered vest, 

'Tis allowed, as a fact, that they act with much tact, 

And they lisp out, " How do? " and they coo, and they sue, 

And they smile for a while, their guests to beguile, 

Condescending and bending, for fear of offending: 

Though inert, they expect to be pert, and to flirt, 

And they turn and they twist, and are great hands at whist ; 

And they whirl and they twirl, and they whisk, and are brisk, 

And they whiz and they quiz, and they spy with their eye, 

And they sigh as they fly, 

For they meet to be sweet, and are fleet on their feet, 

Pattering, and flattering, and chattering — 

Spluttering, and fluttering, and buttering — 

Advancing, and glancing, and dancing, and prancing, 

And bumping, and jumping, and stumping, and thumping — 



114 COMMON .SCHOOL ELOCUTION. 

Sounding and bounding abound and around, 
And sliding and gliding with minuet pace — 
Pirouetting, and sitting with infinite grace. 

They like dashing and flashing, lashing and splashing, 

Racing and pacing, chasing and lacing ; 

They are flittering and glittering, gallant and gay, 

Yawning all morning, and lounging all day ; 

Love living in London, life loitering away - 

At their clubs in the dubs, or with beaux in the rows, 

Or, what's propera, at the opera, 

Reaching home in the morning — fie! fie! sirs, for shame 

At an hour, for their sakes, I won't venture to name. 

But when the bachelor-boy grows old, 
And these butterfly days are past — 
When threescore years their tale have told, 
And the days are wet, and the nights are cold, 
And something-more is required than gold 
His heart to cheer, and his hearth uphold — 
When, in fact, he finds he's completely sold, 
And the world can grumble, and women can scoid — 
His sun setting fast, and his tale being told — 
He then repents at last ! 

When he, at length, is an odd old man, 
With no warmer friend than a warming-pan, 
He is fidgety, fretful, and f rowsty — in fine, 
Loves self, and his bed, and his dinner, and wine ; 
And he rates and he prates, and reads the debates, 
And abuses the world, and the women he hates, 
And is cozing and prosing, and dozing all day, 
And snoring, and roaring, and boring away ; 
And he's huffy, and stuffy, and puffy, and snuffy, 



EXAMPLES — RADICAL STRESS. 115 

And musty, and fusty, and rusty, and crusty ; 

Sneezing, and wheezing, and teasing, and freezing, 

And grumbling, and fumbling, and mumbling, and stumbling ; 

Falling, and bawling, and crawling, and sprawling, 

Withering, and dithering, and quivering, and shivering, 

Waking, and aching, and quaking, and shaking, 

Ailing, and wailing, and always bewailing, 

Weary and dreary, and nothing that's cheery, 

Groaning, and moaning, his selfishness owning ; 

And crying, and sighing, while lying and dying, 

Grieving and heaving, though naught he is leaving 

But wealth, and ill-health, and his pelf, and himself. 

Then he sends for a doctor to cure or to kill, 

With his wonderful skill, 

And a very big bill, 

All of which is worth nil, 
But who gives him offense, as well as a pill, 
By dropping a hint about making his will; 

For the game's up at last, 

The grave die is cast, 
Never was fretful antiquity mended — 
So the lonely life of the bachelor's ended. 

Nobody mourns him', nobody sighs, 

Nobody misses him', nobody cries ; 

For, whether a fool', or whether he's wise, 

Nobody grieves' when a bachelor dies. 

Now, gentlemen ! mark me, for this is the life 
That is led by a man never bless' d with a wife ; 
And this is the way that he yields up his breath, 
Attested by all who are in at the death. 



116 COMMON SCHOOL ELOCUTION. 

Didactic Thought. 
42. 
[From "To-day." — Carpenter.] 
Doa't tell me of to-morrow' ; 

Give me the man who'll say, 
That, when a good deed's to be done, 

"Let's do the deed to-day." 
We may all command the present, 

If we act and never wait ; 
But repentance is the phantom 
Of a past that comes too late ! 

Don't tell me of to-morrow' ; 

There is much to do to-day, 
That can never be accomplished 

If we throw the hours away ; 
Every moment has its duty ; 

Who the future can foretell'? 
Why put off until to-morrow 

What to-day can do as well? 

Don't tell me of to-morrow': 

If we look upon the past, 
How much that we have left to do 

We can not do at last' ! 
To-day it is the only time 

For all upon the earth ; 
It takes an age to form a life — 

A moment gives it birth ! 

Fear — Terror. 
Angels ! and ministers of grace defend us ! 
Be thou a spirit of health or goblin damn'd, 



EXAMPLES — RADICAL STRESS. 117 

Bring with thee airs from heaven 

Or blasts from hell. Be thy intent wicked 

Or charitable, thou com'st in such a questionable shape 

That I will speak to thee. 

Sudden Anger. 

The furies curse you then ; 

When forth you walk, may the red, naming sun 

Strike you with livid plagues ! 

Vipers that die not, slowly gnaw your heart ; 

May mankind shun you ; may you hate yourself, 

Pray for death hourly yet be million of years 

In expiring. 

Startling Emotion. 
[" The Rising — 1776." — T. B. Bead.'] 
Out of the North the wild news came 
Far flashing on its wings of flame, 
Swift as the boreal light which flies 
At midnight through the startled skies. 

And there was tumult in the air, 

The fife's shrill note, the drum's loud beat, 

And through the wide land everywhere 
The answering tread of hurrying feet ; 

While the first oath of Freedom's gun 

Came on the blast from Lexington ; 

And Concord roused, no longer tame, 

Forgot her old baptismal name, 

Made bare her patriot arm of power, 

And swelled the discord of the hour. 

Within its shade of elm and oak 
The church of Berkley Manor stood ; 



118 COMMON SCHOOL ELOCUTION. 

There Sunday found the rural folk, 
And some esteemed of gentle blood. 

How sweet the hour of Sabbath talk, 
The vale with peace and sunshine full, 

Where all the Tiappy people walk, 

Decked in their homespun flax and wool ! 

Where youths' gay hats with Jblossoms bloom ; 
And every maid with simple art, 
Wears on her breast, like her own heart, 

A bud whose depths are all perfume ; 
While every garment's gentle stir 
Is breathing rose and lavender. 

The pastor came : his snowy locks 

Hallowed his brow of thought and care ; 

And calmly, as shepherds lead their flocks, 
He led into the house of prayer. 

The pastor rose : the prayer was strong ; 
The psalm was warrior David's song ; 
The text, a few short words of might — 
" The Lord of hosts shall arm the right! " 
He spoke of wrongs too long endured, 
Of sacred rights to be secured ; 
Then from his patriot tongue of flame 
The startling words for Freedom came. 
The stirring sentences he spake 
Compelled the heart to glow or quake ; 
And, rising on his theme's broad wing. 

And grasping in his nervous hand 

The imaginary battle-brand, 
In face of death he dared to fling 
Defiance to a tyrant king. 



EXAMPLES RADICAL STRESS. 119 

Even as he spoke, his frame, renewed 
In eloquence of attitude, 
Rose, as it seemed, a shoulder higher ; 
Then swept his kindling glance of fire 
From startled pew to breathless choir ; 
When suddenly his mantle wide 
His hands impatient flung aside, 
And, lo ! he met their wondering eyes 
Complete in all a warrior's guise. 

A moment there was awful pause — 
When Berkley cried, " Cease, traitor! cease! 
God's temple is the house of peace! " 

The other shouted, " Nay, not so ; 

When God is with our righteous cause, 
His holiest places then are ours, 
His temples are our forts and towers 

That frown upon the tyrant foe ; 
In this the dawn of freedom's day, 
There is a time to fight and pray ! " 

And now before the open door — 

The warrior priest had ordered so — 
The enlisting trumpet's sudden roar 
Rang through the chapel, o'er and o'er, 
Its long, reverberating blow, 
So loud and clear, it seemed the ear 
Of dusty death must wake and hear. 
And there the startling drum and fife 
Fired the living with fiercer life ; 
While overhead, with wild increase, 
Forgetting its ancient toll of peace, 

The great bell swung as ne'er before. 
It seemed as it would never cease ; 



120 COMMON SCHOOL ELOCUTION. 

And every word its ardor flung 
From off its jubilant iron tongue 
Was, ' ' War ! war ! war ! ' ' 

1 Who dares " — this was the patriot's cry, 

As striding from the desk he came — 
11 Come out with me, in Freedom's name, 
For her to live, for her to die? " 
A hundred hands flung up reply, 
A hundred voices answered, " I! " 



Vigorous and Earnest Appeal. 

43. 
[From " The Sermon of Massillon."] 

I ask you, then — struck with dismay, I ask it, not sepa- 
rating my own lot from yours, but placing myself in the 
same predicament — I ask you if Jesus Christ were to appear 
in this temple, in the midst of this assembly, in judgment, 
and separate the sheep from the goats, think you the larger 
portion of us here present would be placed on the right? 
Think you there would be half? Do you believe there would 
be simply ten righteous, which God once did not find in 
five entire cities? I ask you — you know not. I too am 
ignorant : thou only, O God ! knowest who are thine. 

But if we know not who belong to God, we are at least 
certain that the wicked do not. Who, then, are the right- 
eous in this assembly? Titles, and rank, and riches must be 
reckoned as nothing; you will be stripped of them in the 
presence of Jesus Christ. Who, then, are here? Many 
sinners who will not be converted ; a still larger number who 
would, but delay their conversion ; some who repent but to 



EXAMPLES RADICAL STRESS. 121 

relapse again into sin ; and many who think they have no 
need of conversion. These are the classes of the reprobate. 
Retrench these four sorts of sinners from this, assembly — 
they will be retrenched at the great day of accounts. Stand 
forth now, ye righteous! Where are ye? Remnant of 
Israel, pass to the right ! Wheat of the Lord, separate from 
this chaff, destined to unquenchable fire! O my God! 
where are thine elect, and what remains for thy portion ? 



Earnest, Lofty and Sublime Argument. 

44. 
[From "National Character." — Haxey~\ 

The loss of a firm national character, or the degradation 
of a nation's honor, is the inevitable prelude to her de- 
struction. Behold the once proud fabric of a Roman 
empire — an empire carrying its arts and arms into every 
part of the eastern continent ; the monarchs of mighty king- 
doms dragged at the wheels of her triumphal chariots ; her 
eagle waving over the ruins of desolated countries. Where 
is her splendor, her wealth, her power, her glory? Extin- 
guished forever. Her moldering temples, the mournful 
vestiges of her former grandeur, afford a shelter to her mut- 
tering monks. Where are her statesmen, her sages, her 
philosophers, her orators, her generals? Go to their'solitary 
tombs and inquire. She lost her national character, and her 
destruction followed. The ramparts of her national pride 
were broken down, and vandalism desolated her classic 
fields. 

Such, the warning voice of antiquity, the example of all 
republics proclaim, may be our fate. But let us no longer 
indulge these gloomy anticipations. The commencement of 



122 COMMON SCHOOL ELOCUTION. 

our liberty presages the dawn of a brighter period to the 
world. That bold, enterprising spirit which conducted our 
heroes to peace and safety, and gave us a lofty rank amid 
the empires of the world, still animates the bosoms of their 
descendants. Look back to that moment when they un- 
barred the dungeons of the slave and dashed his fetters to 
the earth ; when the sword of a Washington leaped from its 
scabbard to avenge the slaughter of our countrymen. Place 
their example before you. Let the sparks of their veteran 
wisdom flash across your minds, and the sacred altar of your 
liberty, crowned with immortal honors, rise before you. 
Relying on the virtue, the courage, the patriotism, and the 
strength of our country, we may expect our national charac- 
ter will become more energetic, our citizens more enlight- 
ened, and we may hail the age as not far distant when will 
be heard, as the proudest exclamation of man, I am an 
American ! 

108. MEDIAN STRESS. 

1. The Median Stress ( ^*fijj!|j§^fc>»> ^ is the appli- 
cation of force to the middle of the syllable or word. 

2. The Median Stress consists of a gradual swelling 
of voice to the middle of the syllable or word, and 
then a gradual diminution of force and pitch to the 
end. 

109. LAW OF USE. 

The Median Stress is used in the expression of 
grandeur, sublimity, pathos, reverence and devotion. 

The intensity of the stress varies with the degree of 
emotion. 



EXAMPLES MEDIAN STRESS. 123 



.O. Exercises. — 








a, e, 


i, 0, 


u. 




Rome round 


beams 




form 


gold heart 


pale 




wave 


moan hand 


oh 




air 



Examples: Grandeur and Sublimity. 

[From "The Forest Hymn." — Bryant.] 

But thou art here, ; thou fill'st 
The solitude. Thou art in the soft winds, 
That run along the summits of these trees 
In music, ; thou art in the cooler breath, 
That, from the inmost darkness of the place, 
Comes, scarcely felt, ; the barky trunks,, the ground, 
The fresh, moist ground, are all instinct with thee,. 
Here is continual worship, ; nature', here, 
In the tranquility that thou dost love, 
Enjoys thy presence,. 

Noiselessly around, 
From perch to perch, the solitary bird 
Passes, ; and yon clear spring, that, 'mid its herbs, 
Wells softly forth', and visits the strong roots 
Of half the mighty forest', tells no tale, 
Of all the good it does,. 

Thou hast not left 
Thyself without a witness, in these shades, 
Of thy perfections,. Grandeur', strength', and grace, 
Are here to speak of thee. This mighty oak, 
By whose immovable stem I stand, and seem 
Almost annihilated', not a prince, 



124 COMMON SCHOOL ELOCUTION. 

In all the proud old world beyond the deep, 
E'er wore his crown as loftily as he 
Wears the green coronal of leaves, with which 
Thy hand has graced him r Nestled at his root 
Is beauty', such as blooms not in the glare 
Of the broad sun. 

Solemnity and Devotion., 

45. 
[From "Nearer Home." — Phebe Carey.'] 

One sweetly solemn thought 
Comes to me o'er and o'er; 

I'm nearer my home to-day 
Than I ever have been before ; 

Nearer my Father's house, 
Where the many mansions be ; 

Nearer the great white throne, 
Nearer the crystal sea ; 

Nearer the bound of life, 

Where we lay our burdens down ; 

Nearer leaving the cross, 
Nearer gaining the crown ! 

But the waves of that silent sea 
Roll dark before my sight 

That brightly the other side 
Break on a shore of light. 

Oh, if my mortal feet 

Have almost gained the brink ; 

If it be I am nearer home 
Even to-day than I think ; 



FINAL STRESS. 125 

Father, perfect my trust ; 

Let my spirit feel in death, 
That her feet are firmly set 

On the Rock of a living faith ! 

111. FINAL STRESS. 

1. The Final Stress/ ~^^^fl[ B ) ^ s tne applica- 
tion of Force to the last part of the syllable or word. 

2. The Final Stress consists of a gradual increase of 
force till the end of the syllable or word is reached, 
when the force culminates in a violent explosive utter- 
ance. 

112. LAW OF USE. 

1. The Final Stress is used in expressing a dogged 
determination, contempt, rebuke, disgust, revenge, de- 
fiance and hatred. 

2. This is emphatically the stress of decisive state- 
ments. Its use, with those to whom it is natural, ad- 
mits of no equivocation. 

3. In this connection, the pupil may profitably 
select any ten persons of his acquaintance, and observe 
their conversation for a time ; he will be surprised to 
notice what a wonderful index their voice-elements are 
to their peculiar temperaments. Stress, quality, 
pitch and voice slides are significant exponents of 
character. 

4. , Upon this point, Hamill justly observes : ' ' With- 
out the full command of the Final Stress, de- 
termined purpose, earnest resolve, manly protest, 



126 COMMON SCHOOL ELOCUTION. 

degenerate into childish and angry utterance ; and the 
expression of scorn, revenge and contempt sinks to 
the ridiculous tones of the shrew. " 

113. Exercises : — 

hate leave great gone 

blood bond speak will 

revenge defiance mean defy 

114. Examples : Dogged Determination. 

[From the " Merchant of Venice." — Shakespeare.'] 
Shy. I'll have my bond ; I will not hear thee speak : 
I'll have my bond ; and therefore speak no more : 
I'll not be made a soft and dull-eyed fool, 
To shake the head, relent, and sigh, and yield 
To Christian intercessors. 

Rebuke. 
[From "Julius Caesar." — Shakespeare.] 

Bru. Hear me, for I will speak. 
Must I give way and room to your rash choler? 
Shall I be frighted when a madman stares ? 

Cas. Must I endure all this ? 

Bru. All this? Ay, more! Fret till your proud heart 
break : 
Go, show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge ? 
Must I observe you? Must I stand and crouch 
Under your testy humor ? 
You shall digest the venom of your spleen, 
Though it do split you ; for from this day forth, 
I'll use you for my mirth — yea, for my laughter — 
When you are waspish. 






EXAMPLES FINAL STRESS. 127 

Earnest Protest — Rebuke. 

46. 

[From "The Irish Disturbance Bill." — O'ConneZZ.] 

I do not rise to fawn or cringe to this house ; I do not 
rise to supplicate you to be merciful toward the nation to 
which I belong, — toward a nation which, though subject to 
England, yet is distinct from it. It is a distinct nation: 
it has been treated as such by this country, as may be 
proved by history and by seven hundred years of tyranny. 
I call upon this house, as you value the liberty" of England, 
not to allow the present nefarious bill to pass. In it are 
involved the liberties of England, the liberty of the press, 
and of every other institution dear to Englishmen. 

Against the bill I protest in the name of the Irish people, 
and in the face of Heaven. I treat with scorn the puny and 
pitiful assertions that grievances are not to be complained 
of, that our redress is not to be agitated ; for in such cases 
remonstrances cannot be too strong, agitation cannot be too 
violent, to show to the world with what injustice our claims 
are met, and under what tyranny the people suffer. 

Contempt — Defiance — Hate. 

47. 

[From "Catiline's Defiance." — Croly.'] 

Banished from Rome ! What's banished but set free 
From daily contact with the things I loathe ? 
"Tried and convicted traitor! " — Who says this? 
Who'll prove it, at his peril, on my head? 
Banished? I thank you for't ! It breaks my chains ! 



128 COMMON SCHOOL ELOCUTION. 

I held some slack allegiance till this hour, 

But now my sword's my own. Smile on, my lords ! 

I scorn to count what feelings, withered hopes, 

Strong provocations, bitter, burning wrongs, 

I have within my heart's hot cells shut up, 

To leave you in your lazy dignities ! 

But here I stand and scoff you ! — here I fling 

Hatred and full defiance in your face ! 

Your consul's merciful. For this, all thanks ! 

He dare not touch a hair of Catiline ! 



Traitor ! " I go, — but I return ! This trial ! 

Here I devote your senate ! — I've had wrongs, 

To stir a fever in the blood of age, 

And make the infant's sinews strong as steel. 

This day's the birth of sorrow ! This hour's work 

Will breed proscriptions ! Look to your hearths, my lords ! 

For there henceforth shall sit for household gods, 

Shapes hot from Tartarus ! all shames and crimes ; 

Wan Treachery, with his thirsty dagger drawn ; 

Suspicion, poisoning his brother's cup ; 

Naked Rebellion, with the torch and axe, 

Making his wild sport of your blazing thrones, 

Till Anarchy come down on you like night, 

And Massacre seals Rome's eternal grave! 

115. COMPOUND STRESS. 



Compound Stress f^^^-^^^) is the application 
of Force to the first and last part of a word, giving 
the middle part but slight force. 



THOROUGH STRESS. 129 

116. LAW OF USE. 

The Compound Stress is used to express ridicule, 
astonishment, contempt, mockery, sarcasm and raillery. 

117. Exercises. — 

added happy feared 

he died dead 

you nice gone 

118. Examples: Mockery. 

Queen. Oh, what a rash and bloody deed is this ! 
Hamlet. A bloody deed; almost as bad, good mother, 
As kill a king and marry with his brother. 

Surprise. 
Queen. As kill a king? 

Intense Astonishment. 
Gone to be married! 

119. THOROUGH STRESS. 

1. Thorough Stress ( MHHB9 > is the equal 
distribution of Force to all parts of the syllable or 
word. 

2. It is a combination of the Eadical, Median and 
Final in the order named. 

3. It is the characteristic Stress of a powerful and 
all-pervading emotion that seeks to express itself in 
broad, swelling sounds which electrify the hearts and 
fire the souls of listeners. 

4. The effect of the Thorough Stress upon the 



130 COMMON SCHOOL ELOCUTION. 

assembled multitude, listening to the impassioned ap- 
peals of a skillful orator, pleading the cause of suf- 
fering humanity, or denouncing insatiate ambition, 
unbridled licentiousness or unchecked tyranny, is won- 
derful and beyond our comprehension. If, however, 
employed in the expression of common-place ideas and 
trivial thoughts, it can excite in cultivated minds only 
ridicule and disgust. 

5. Children are usually deficient in the power of 
Thorough Stress, and on attempting to apply it to one 
or more words, are apt to run into a high, monotonous 
chant that is extremely unpleasant to hearers. To 
avoid this tendency, examples should be used for the 
practice of this stress containing words at their close 
which require some other stress. 

[See first example below; the words, " he said," 
require Kadical Stress."] 

120. LAW OF WSE. 

The Thorough Stress is employed to express lofty 
command, rapturous joy, vehement indignation, ora- 
torical apostrophe and intense and violent emotion. 



121. Exercises. — 






harm dare 


hark 


swelled 


share heart 


swarmed 


drove 



122. Examples : Lofty Command. 

"Forward, the Light Brigade! 
Charge for the guns I" he said. 






EXAMPLES — THOROUGH STRESS. 131 

Exultation. 

Hurrah ! Hurrah for Sheridan ! 
Hurrah ! Hurrah for horse and man ! 

Intense Emotion. 

Uncounted gold shall be given to the man 

Whose brave right hand, 
For the love of the periled city, 

Plucks down yon naming brand. 

Oratorical Apostrophe. 

48. 

[From " The Launch of the Ship." — Longfellow.'} 

Thou, too, sail on, oh Ship of State ! 
Sail on, oh Union, strong and great! 
Humanity with all its fears, 
With all the hopes of future years, 
Is hanging breathless on thy fate. 
We know what master laid thy keel, 
What workmen wrought thy ribs of steel, 
Who made each mast, and sail, and rope, 
What anvils rang, what hammers beat, 
In what a forge, and what a heat, 
Were shaped the anchors of thy hope. 

Fear not each sudden sound and shock, 
'Tis of the wave, and not the rock; 
*Tis but the napping of the sail, 
And not a rent made by the gale. 
In spite of rock and tempest roar, 
In spite of false lights on the shore, 






132 COMMON SCHOOL ELOCUTION. 

Sail on ! nor fear to breast the sea ; 

Our hearts, our hopes, are all with thee. 

Our hearts, our hopes, our prayers, our tears, 

Our faith, triumphant o'er our fears, 

Are all with thee — are all with thee. 

Vehement Indignation. 

[From " Chatham's Rebuke of Lord Suffolk."] 

" These abominable principles, and this more abominable 
avowal of them, demand the most decisive indignation. I 
call upon that right reverend and this most learned Bench, to 
vindicate the religion of their God, to defend aud support the 
justice of their country. I call upon the bishops to inter- 
pose the unsullied sanctity of their lawn, upon the judges to 
interpose the purity of their ermine, to save us from this pollu- 
tion. I call upon the honor of your lordships, to reverence the 
dignity of your ancestors, and to maintain your own. I call 
upon the spirit and humanity of my country, to vindicate the 
national character." 

123. INTERMITTENT STRESS. 

1. The Intermittent Stress ( AAAA/V) is a 
tremulous application of Force throughout the syllable 
or word, prolonged in utterance. 

2. It is the characteristic Stress of extreme tender- 
ness, feebleness and old age, but is also observed in 
subdued grief and joy, when the breath is sent forth in 
agitated jets, as if the vital forces were too weak to 
control its accurate articulation. 

3. To secure command of the tremor, much practice 






EXAMPLES — INTERMITTENT STRESS. 133 

upon simple elements and words is necessary before 
attempting continuous sentences. 

124. LAW OF USE. 

The Intermittent Stress is used in the expression of 
weakness, exhaustion, sickness, pity, tenderness and 
overwhelming joy and grief. 

125. Exercises. — 

A E I O U 

old gone poor grave 

strength word time breath 

hear come round soul 

chain twine path roll 

126. Examples : Sickness and Exhaustion. 
Jessie's — too — sick, — Papa. Can't — say — good- 
night, — Papa. In — the — morning. 

Mother, — the — angels — do — so — smile, — and 
— beckon — little Jim. 

Intense Grief — Distraction- — Supplication. 

[From " McLain's Child." — Charles Mackay.'] 
" Oh, spare my child, my joy, my pride! 

Oh, give me back my child! " she cried. 
" My child! my child! " with sobs and tears, 

She shrieked upon his callous ears. 

Feebleness. 
[From "The Old Man's Bequest." — Thomas Moore.] 
Mark the words in Italics with the Intermittent Stress. 
Pity the sorrows of a poor old man, 

WJiose trembling limbs have borne him to your door, 
Whose days are dwindled to the shortest span; 
0, give relief ! and Heaven will bless your store ! 



134 COMMON SCHOOL ELOCUTION. 

QUESTIONS ON STRESS. 

1. What is Stress ? 2. What distinction is made be- 
tween Stress and accent? 3. Where is Stress applied? 
4. What are the divisions of Stress? 5. Define Rad- 
ical Stress. 6. What may occur in applying Radical 
Stress if the vocal organs are not under perfect con- 
trol? • 7. How is the degree of the Radical Stress de- 
termined? 8. What is the Law of Use for Radical 
Stress? 9. Name the selections and their authors 
under Radical Stress. 10. Define Median Stress. 
11. Describe the manner of its production. 12. State 
its Law of Use. 13. How does the intensity of the 
Median Stress vary? 14. Define Final Stress. 15. 
Describe its production. 16. What is its Law of Use? 
17. What may be said of the peculiar use of the Final 
Stress? 18. What observation is made upon vocal 
elements as an exponent of character? 19. State the 
remark of Hamill. 20. Name the selections under 
Final Stress. 21. Define Compound Stress. 22. 
What is the Law of Use for Compound Stress? 23. 
Define Thorough Stress. 24. Of what is it a combi- 
nation? 25. Of what is this Stress characteristic? 
26. What is its effect when properly used? When im- 
properly used? 27. What difficulty do children ex- 
perience in attempting to give the Compound Stress ? 
28. How may this be avoided ? 29. State the Law of 
Use governing the Compound Stress. 30. Name the 
selections and their authors under Compound Stress. 
31. Define Intermittent Stress. 32. Of what emo- 



PITCH. 135 

tions is this Stress characteristic? 33. What exercise 
is essential to secure command of the Intermittent 
Stress? 34. What is its Law of Use? 



127. PITCH. 



1. Pitch is the degree of elevation or depression of 
sound. 

2. We say that one tone is higher than another 
when the number of vibrations produced in the utter- 
ance of one is greater than the other. 

3. Pitch in music is determined by the unvarying 
musical scale, and transitions from high to low or the 
reverse, are made by steps ; while in speech the appro- 
priate pitch depends upon the sentiment to be ex- 
pressed and the construction of the vocal organs of the 
speaker ; and the various changes are made by slides 
of the voice called the concrete movement. 

4. A number of persons singing the same piece of 
music would employ the same pitch, but if these same 
persons read the same selection, though it require a 
high or low pitch, there is scarcely any probability 
that their voices would be pitched upon the same key ; 
and yet, each, using his appropriate pitch for the senti- 
ment, would read it correctly. In the first instance 
the pitch is determined by musical instruments ; in the 
latter by the voices of the respective individuals. 

5. All that has been said concerning the influence of 
emotion in determining the appropriate element in 
vocal expression applies to pitch. These conditions 
operate directly upon the vocal organs, — tension of 
the vocal chords, producing a high pitch, arises from 



136 COMMON SCHOOL ELOCUTION. 

exaltation of spirit ; relaxation of these chords, produc- 
ing low pitch, accompanies mental depression ; while 
a tranquil state of mind leaves the vocal chords in their 
natural condition, and a pitch midway between high 
and low will be selected. 

128. DIVISIONS OF PITCH. 

1. Since the sentiment determines the appropriate 
Pitch, three divisions are naturally formed, which we 
designate High, Middle and Low. 

2. These divisions are not absolute, and have no 
definite place on the musical scale. They vary accord- 
ing to intensity of feeling and the natural key of dif- 
ferent voices. 

3. Each of these divisions has an extended compass, 
since many emotions that are classed as exciting, differ 
widely in degree and in their influence upon individ- 
uals ; hence, we may have pitch high, moderately high, 
and very high, and the same is true of low pitch. 
The pupil must decide from the intensity of the sen- 
timent what degree of high or low pitch he shall use, 
bearing in mind that the greater the agitation from 
joyous or angry emotions, the higher the pitch ; and, 
conversely, the greater the depression from emotions 
of solemnity or grief, the lower the pitch. 

129. Exercises. — 

Note. — In the practice of these exercises the pupil must pre- 
serve the same Quality throughout the various divisions. Utter 
each element in Low, Middle and High Pitch, next in the order 
Middle, High and Low, then give the sounds in the order High, 
Low, Middle. 

A, E, I, O, U. 



MIDDLE PITCH. 137 

130. MIDDLE PITCH. 

The Middle Pitch is used in our ordinary conversa- 
tion in the delivery of narrative, descriptive and di- 
dactic thought, and in the introduction to lectures, 
orations and sermons. 

131. Examples : Narration. 

49. 

[From "Kobinson Crusoe Finds his Man Friday." — Defoe.'] 

I smiled at him, and looked pleasantly, and beckoned to 
him to come still nearer : at length he came close to me ; 
and then he kneeled down again, kissed the ground, and laid 
his head upon the ground, and taking me by the foot, set my 
foot upon his head: this, it seems, was in token of swearing 
to be my slave forever. I took him up, and made much of 
him, and encouraged him all I could. But there was more 
work to do yet; for I perceived that the savage whom I 
knocked down was not killed, but stunned with the blow, and 
began to come to himself ; so I pointed to him, and showed 
him the savage, that .he was not dead ; upon this he spoke 
some words to me, and though I could not understand them, 
yet I thought they were pleasant to hear ; for they were the 
first sound of a man's voice that I had heard, my own 
excepted, for above twenty-five years. 

Description. 

50. 

[From " The Highland Light-House." — Thoreau.~\ 

It was a neat building, with everything in apple-pie order, 
and no danger of anything rusting there for want of oil. 



138 COMMON SCHOOL ELOCUTION. 

The light consisted of fifteen argand lamps, placed within 
smooth concave reflectors twenty-one inches in diameter, 
and arranged in two horizontal circles one above the 
other, facing every way excepting directly down the Cape. 
These were surrounded, at a distance of two or three feet, 
by large plate-glass windows, which defied the storms with 
iron sashes, on which rested the iron cap. 

All the iron-work, except the floor, was painted white. 
And thus the light-house was completed. "We walked slowly 
round in that narrow space as the keeper lighted each lamp 
in succession, conversing with him at the same moment that 
many a sailor on the deep witnessed the lighting of the High- 
land Light. His duty was to fill and trim and light his 
lamps, and keep bright the reflectors. He filled them every 
morning, and trimmed them commonly once in the course of 
the night. 

Didactic Thought. 

51. 

["A Psalm of Life." — Longfellow.'] 

Tell me not, in mournful numbers, 
"Life is but an empty dream ! " 
For the soul is dead that slumbers, 
And things are not what they seem. 

Life is real ! life is earnest ! 
And the grave is not its goal ; 
" Dust thou art, to dust returnest," 
Was not spoken of the soul. 

Not enjoyment, and not sorrow, 

Is our destined end or way ; 
But to act, that each to-morrow 

Find us farther than to-day. 






EXAMPLES MIDDLE PITCH. 139 

Art is long, and Time is fleeting, 
And our hearts, though stout and brave, 

Still, like muffled drums, are beating 
Funeral marches to the grave. 

In the world's broad field of battle, 

In the bivouac of Life, 
Be not like dumb, driven cattle! 

Be a hero in the strife ! 

Trust no Future, howe'er pleasant! 

Let the dead Past bury its dead ! 
Act — act in the living Present ! 

Heart within, and G-od o'erhead. 

Lives of great men all remind us 

We can make our lives sublime, 
And, departing, leave behind us 

Footprints on the sands of time. 

Footprints, that perhaps another, 

Sailing o'er life's solemn main, 
A forlorn and shipwrecked brother, 

Seeing, shall take heart again. 

Let us, then, be up and doing, 

With a heart for any fate ; 
Still achieving, still pursuing, 

Learn to labor and to wait. 

Introduction to Oration. . 
52. 
[From " Chancellor Kent's Eulogy on Noah Webster."] 
For nearly half a century, amidst obstacles and toils, dis- 
appointments and infirmities, this eminent philologist has 



140 COMMON SCHOOL ELOCUTION. 

nobly sustained his courage; and by means of his extra- 
ordinary skill and industry in the investigation of languages, 
he will transmit his name to the latest posterity. It will 
dwell on the tongues of infants as soon as they have learned 
to lisp their earliest lessons. It will be stamped on our 
American literature, and be carried with it over every part 
of this mighty continent. It will be honored by three 
hundred millions of people, for that is the number which, it 
is computed, will, in some future age, occupy the wide space 
of territory stretching from the Atlantic to the Pacific Ocean, 
and from the Torrid to the Arctic regions. 

132. HIGH PITCH. 

High Pitch is used in calling, commanding and shout- 
ing, and in the delivery of animated, earnest and joy- 
ous sentiments. 

133. Examples : Calling. 

53. 

[From " Creeds of the Bells." — G. W. Bungay. 2 
11 To all, the truth, we tell! we tell! " 

Shouted in ecstasies a bell ; 
" Come all ye weary wanderers, see! 

Our Lord has made salvation free ! 

Repent, believe, have faith, and then 

Be saved, and praise the Lord, Amen! 

Salvation's free, we tell! we tell! " 

Shouted the Methodistic bell. 

Cojimanding. 
Forward, the Light Brigade ! 



EXAMPLES — HIGH PITCH. 141 

Shouting. 

Go ring the bells and fire the guns, 

And fling the starry banners out ; 

Shout freedom, till your lisping ones 

Give back their cradle shout. 

— [Whittier. 

Animation. 

54. 

[From " Sheridan's Ride." — T. B. Bead.'] 

Hurrah ! hurrah for Sheridan ! 
Hurrah ! hurrah for horse and man ! 
And when their statues are placed on high 
Under the dome of the Union sky, 
The American soldiers' Temple of Fame, 
There with the glorious general's name 
Be it said in letters both bold and bright : 
" Here is the steed that saved the day 
By carrying Sheridan into the fight, 
From Winchester — twenty miles away! " 

Joy. 
55. 

[From " It Snows."— Mrs. Hale.] 

"It snows!" cries the school-boy, "Hurrah!" and his 
shout 

Is ringing through parlor and hall, 
While swift as the wing of a swallow, he's out, 

And his playmates have answered his call ; 
It makes the heart leap but to witness their joy ; 

Proud wealth has no pleasures, I trow, 



142 COMMON SCHOOL ELOCUTION. 

Like the rapture that throbs in the pulse of the boy, 

As he gathers his treasures of snow ; 
Then lay not the trappings*of gold on thine heirs, 
While health, and the riches of nature, are theirs. 

Earnestness. 

56. 

[From " Battle of Waterloo." — Byron.] 

Did ye not hear it? — No, ; 't was but the wind, 
Or the car rattling o'er the stony street ; 
On with the dance , ! let joy be unconfined ; 
No sleep till morn, when youth and pleasure meet 
To chase the glowing hours with flying feet — 
But, hark, ! — that heavy sound breaks in once more,, 
As if the clouds its echo would repeat,, 
And nearer n clearer n deadlier , than before! 
Arm, ! arm l ! it is — it is the cannon' s t opening roar ! 

Empassioned Oratory. 

57. 
[From " Speech of Patrick Henry," March, 1775.] 

SPEECH BEFORE THE VIRGINIA CONVENTION. 

Mr. President: It is natural for man' to indulge in the 
illusions of hope,. We are apt to shut our eyes against a 
painful truth,, and listen to the song of that siren' till she 
transforms us into beasts,. Is this 1 — the part of wise men', 
engaged in a great and arduous struggle for liberty'? Are 
we disposed to be of the number of those', who, having eyes', — 
see, not, and having ears', — hear, not the things which so 






EXAMPLES HIGH PITCH. 143 

dearly concern their temporal salvation' ? For my, — part', 
whatever anguish of spirit it may cost 1 , I am willing to know 
the whole i truth; to know the worst,, and to provide for it. 

I have but one lamp, by which my, feet are guided ; and 
that, — is — the lamp of experience. I know of no way of 
judging of the future', but by the past,; I wish to know what 
there has been in the conduct of the British ministry for the 
last ten years', to justify those hopes with which gentlemen 
have been pleased to solace themselves and the house ? Is it 
that insiduous smile 1 with which our petition has been lately 
received' ? Trust it not, sir : it will prove a snare, to your 
feet,. Suffer not yourselves to be betrayed with a kiss. 
Ask yourselves, how this gracious reception of our petition, 
comports with those warlike preparations which cover our 
waters and darken our land,. Are fleets 1 — and armies 1 — 
necessary to a work of love and reconciliation f Have we 
shown ourselves so unwilling to be reconciled, that force — 
must be called in to win back our love' ? Let us no deceive, 
ourselves, sir. These are the implements of war, and subjuga- 
tion,; the last arguments to which kings resort. 

I ask, gentlemen', what means this martial array, if its 
purpose be not to force us into submission? Can gentlemen 
assign any other — possible — motive for it? Has Great 
Britain any enemy 1 — in this quarter of the world, to call for 
all this accumulation of navies and armies'? No,, sir, she 
has none,. They are meant for us, : they can, be meant for 
no other,. Thej 7, are sent over to bind, and rivet, upon us 
those chains, which the British ministry have been so long 
forging. And what have we to oppose^ to them ? Shall we 
try argument? Sir', we have been trying, that, for the last — 
ten — years. Have we any thing new 1 to offer upon the 
subject? Nothing,. We have held the subject up in 



=f 



144 COMMOM SCHOOL ELOCUTION. 

every light in which it was capable, ; but it has been all in 
vain,. 

Shall we resort to entreaty and humble supplication ? What 
terms, shall we find, which have not been already exhausted^ ? 
Let us not, I beseech you, deceive ourselves longer,. Sir', 
we have done eveiything that could be done, to avert the 
storm which is now coming on. We have petitioned ; we 
have remonstrated, ; we have supplicated, >, we have PROS- 
TRATED, ourselves at the foot of the throne, and implored 
its interposition to arrest, the tyrannical hands of the ministry 
and parliament. Our petitions' have been slighted,; our 
remonstrances have produced additional violence and insult; 
our supplications' have been disregarded,; and we have been 
spurned,, with contempt,, from the foot of the throne. 

In vain, after these things, may we indulge the fond hope 
of peace and reconciliation. There is no longer any room 
for hope. If we wish to be free ; if we mean to preserve 
inviolate those inestimable privileges for which we have been 
so long contending' ; if we mean not basely to abandon, the 
noble struggle in which we have been so long engaged, 
and which we have pledged ourselves never, to abandon, 
until the glorious object of our contest shall be obtained', 
we must fight,! I repeat it,, sir, we must fight!! An 
appeal to arms t , and the God of Hosts,, is all that is left us. 

They tell us, sir', that we are weak,; unable to cope, with 
so formidable an adversary. But ivhen shall we be stronger, ? 
Will it be the next week', or the next year'? Will it be, when 
we are totally disarmed, and when a British guard shall be 
stationed in every house ? Shall we gather strength by irreso- 
lution and inaction? Shall we acquire the means of effectual 
resistance by lying supinely on our backs', and hugging the 
delusive phantom of hope, until our enemies shall have bound 



EXAMPLES — LOW PITCH. 145 

us hand and foot'? Sir', we are not weak, if we make a 
proper use of those means', which the God of nature hath 
placed in our power. 

Three millions of people^ armed in the holy cause of 
liberty n and in such a country as that which we possess, are 
invincible by any force which our enemy can send against us. 
Besides, we shall not fight our battles — alone'. There is a 
just God l who presides over the destinies of nations'; and 
who will raise up friends to fight our battles for us. The 
battle, sir, is not to the strong' alone; it is to the vigilant — 
the active^ — the brave r Besides, we have no election. If 
we were base enough to desire t it, it is now too late to retire 
from the contest r There is no, retreat but in submission 
and slavery! Our chains are forged r Their clanking may 
be heard on the plains of Boston ! The war is inevitable; 
and — let it come 1 1 I repeat it, LET IT COME, ! ! ! 

It is in vain to extenuate the matter,. Gentlemen may cry 
peace', peace'; but there is no t peace. The war is actually 
begun. The next gale that sweeps from the north', will 
bring to our ears the clash of resounding arms ! Our breth- 
ren' are already in the field ! Why stand we t — here idle ? 
What is it that gentlemen wish i ? What would they have f 
Is life so dear', or peace so sweet', as to be purchased at the 
price of chains' and slavery'? Forbid it, Almighty God! I 
know not what course others' may take ; but as for me', give 
me liberty' or GIVE ME DEATH,. 

134. LOW PITCH. 

Low Pitch is used in the delivery of solemn, serious, 
pathetic and devotional thought, and in giving expres- 
sion to emotions of awe, melancholy , gloom and despair. 



146 COMMON SCHOOL ELOCUTION. 

135. Examples : Solemnity. 

58. 
[From "Long Ago." — B. F. Taylor.'] 

Oh! a wonderful stream is the river Time, 

As it runs through the realm of tears, 
With a faultless rhythm and a musical rhyme 
And a broader sweep and a surge sublime, 

As it blends in the ocean of years ! 

How the winters are drifting like flakes of snow, 

And the summers like birds between, 
And the years in the sheaf, how they come and they go 
On the river's breast with its ebb and flow, 

As it glides in the shadow and sheen ! 

There's a Magical Isle up the river Time, 

Where the softest of airs are playing. 
There's a cloudless sky and tropical clime, 
And a song as sweet as a vesper chime, 

And the Junes with the roses are straying. 

And the name of this Isle is " the Long Ago," 

And we bury our treasures there ; 
There are brows of beauty and bosoms of snow, 
There are heaps of dust — oh ! we love them so — 

And there are trinkets and tresses of hair. 

There are fragments of songs that nobody sings, 

There are parts of an infant's prayer, 
There's a lute unswept and a harp without strings, 
There are broken vows and pieces of rings, 

And the garments our dead used to wear. 



EXAMPLES LOW PITCH. 147 

There are hands that are waved when the fairy shore 

By the mirage is lifted in air, 
And we sometimes hear through the turbulent roar 
Sweet voices we heard in the days gone before, 

When the wind down the river was fair. 

Oh ! remembered for aye be that blessed Isle, 

All the day of life until night ; 
And when evening glows with its beautiful smile, 
And our eyes are closing in slumbers awhile, 

May the greenwood of soul be in sight. 

Serious Thought — Sublimity — Awe. 

59. 

[From " Immortality of the Soul." — Addison.] 

CATO'S SOLILOQUY. 

It must be so — Plato, thou reasonest well! 

Else whence this pleasing hope, this fond desire, 

This longing after immortality ? 

Or whence this secret dread, and inward horror 

Of falling into naught ? why shrinks the soul 

Back on herself, and startles at destruction ? 

'Tis the Divinity that stirs within us ; 

'Tis Heaven itself that points out an hereafter, 

And intimates eternity to man. 

Eternity! thou pleasing, dreadful thought ! 
Through what variety of untried being, 
Through what new scenes and changes, must we pass ! 
The wide, the unbounded prospect, lies before me ; 
But shadows, clouds and darkness rest upon it. 
Here will I hold. If there's a power above us 



148 COMMON SCHOOL ELOCUTION. 

(And that there is, all Nature cries aloud 

Through all her works), He must delight in virtue ; 

And that which He delights in, must be happy ; 

But when? or where? This world was made for Caesar. 

I'm weary of conjectures, — this must end them. 

[Laying his hand on his sword. 

Thus am I doubly armed ; my death and life, 
My bane and antidote, are both before me ; 
This in a moment brings me to an end ; 
But this informs me I shall never die. 
The soul, secured in her existence, smiles 
At the drawn dagger, and defies its point. 
The stars shall fade away, the Sun himself 
Grow dim with age, and Nature sink in years ; 
But thou shalt flourish in immortal youth, 
Unhurt amidst the war of elements, 
The wreck of matter, and the crush of worlds. 

Solemnity — Gloom. 

[From " Thanatopsis." — Bryant.] 

60. 

The golden sun, 
The planets, all the infinite host of heaven, 
Are shining on the sad abodes of death, 
Through the still lapse of ages. All that tread 
The globe are but a handful, to the tribes 
That slumber in its bosom. Take the wings 
Of morning, and the Barcan desert pierce, 
Or lose thyself in the continuous woods 
Where rolls the Oregon, and hears no sound 
Save his own dashings, — yet the dead are there! 



EXAMPLES — LOW PITCH. 149 

And millions in those solitudes, since first 
The flight of years began, have laid them down 
In their last sleep, — the dead reign there alone ! 

Veneration. 

[From " The Morning Hymn." — Milton.] 

"These are thy glorious works, Parent of good, 
Almighty ! Thine this universal frame 
Thus wondrous fair — Thyself how wondrous, then ! 
Unspeakable! who sitt'st above these heavens, 
To us invisible, or dimly seen, 
In these thy lowest works." 

Awe — Dismay — Despair. 

[From " The Pestilence." — Porteus.] 

1 ' At dead of night, 
In sullen, silence stalks forth Pestilence : 
Contagion close behind, taints all her steps 
With poisonous dew : no smiting hand is seen ; 
No sound is heard ; but soon her secret path 
Is marked with desolation : heaps on heaps 
Promiscuous drop. No friend, no refuge, near : 
All, all is false and treacherous around, — 
All that they touch, or taste, or breathe, is Death ! " 

Melancholy — Gloom. 
[From " Hamlet." — Shakespeare.] 
Note. — The first and second lines require Middle Pitch 
Ham. (r. ) By-and-bye is easily said. [Exit Polonius, R. 
Leave me, friends. [Exeunt Bosencrantz & Guild. , R. 

'Tis now the very witching time of night ; 



150 COMMON SCHOOL ELOCUTION. 

When churchwards yawn, and hell itself breathes out 

Contagion to this world. Now could I drink hot blood. 

And do such business as the bitter day 

Would quake to look on. Soft — now to my mother, 

Oh ! heart, lose not thy nature ; let not ever 

The soul of Nero enter this firm bosom : 

Let me be cruel • — not unnatural : 

I will speak daggers to her, but use none. ' 

QUESTIONS ON PITCH. 

1. Define Pitch. 2. When do we say that one tone 
is higher than another? 3. How is Pitch in music 
determined? 4. How are variations in musical pitch 
performed? 5. Upon what does pitch in elocution 
depend, and how changed? 6. What difference of 
pitch would be observed by a number of persons sing- 
ing the same music and reading the same selection? 

7. How is the key determined in reading or speaking? 

8. What elocutionary principles apply to Pitch? 9. 
How do the several conditions to which we are subject 
influence the Pitch? 10. What are the divisions of 
Pitch? 11. How do the degrees of Pitch vary? 12. 
What circumstance would give rise to two or more 
degrees of Pitch, as high, moderately high, and very 
high? 13. How.does the pupil determine the appro- 
priate Pitch required in any selection? 14. Give the 
direction in the note for practicing the exercises in 
Pitch. 15. When is Middle Pitch used? 16. Name 
some selections requiring Middle Pitch. 17. When is 
High Pitch used? 18. Name some selections which 



MOVEMENT. 151 

should be read in High Pitch. 19. In the expression 
of what classes of thought and emotion is Low Pitch 
required? 20. Name some selections requiring Low 
Pitch. 



136. MOVEMENT. 

1. Movement is the degree of rapidity or slowness 
with which words are uttered in continuous discourse. 

2. Movement, like other elements of vocal expres- 
sion, depends upon the nature of the thought to be 
spoken ; and as the moods of mind, like an April sky, 
are constantly changing, — now buoyant with hope or 
exhilarated with joy, and anon sobered in serious con- 
templation or depressed by grief, there is necessarily 
little uniformity in the rate of human speech. 

3. The slow and measured tread, timed in unison 
with the mournful dirge, suggests gloom and sorrow ; 
while the lively step of the merry dancers in fling or 
reel, betray the utmost exhilaration of mind and body. 
" The grave psalm and the song of serious sentiment 
express, in their measured regularity, the adaptation 
of gentle and moderate movement to tranquil and 
sedate feeling." 

4. A perfect command of every degree of move- 
ment is essential to correct and effective reading or 
speaking. Ignorance of this element gives the read- 
ing and declamation of our pupils that monotonous 
drawl which renders exercises so insipid and tedious 
to visitors. 

5. Appropriate movement is indispensable in rousing 



152 COMMON SCHOOL ELOCUTION. 

and retaining the attention of an audience ; hence , no 
pains should be spared to adapt the movement of every 
selection to the sentiment intended to be conveyed. 

137. CLASSES OF MOVEMENT. 

The natural divisons of Movement are, Rapid, 
Moderate and Slow, with the further subdivisions of 
very rapid and very slow. 

138. MODERATE MOVEMENT. 

1. Moderate Movement is used in unimpassioned 
discourse, in the expression of narrative, descriptive 
and didactic thought. 

2. The term " Moderate" must not be understood 
as representing a uniform rate. It includes a rate of 
movement that is constantly varying with the senti- 
ment between rapid and slow. 

139. Examples: Narration. 

61. 

[" Trial of Hastings." — Macaulay.'] 

On October 13, 1788, the sittings of the court commenced. 
The place was worthy of such a trial. It was the great hall 
of William Ruf us — the hall which had resounded with the 
acclamations at the inauguration of thirty kings. Neither 
military nor civil pomp was wanting. The gray old walls 
were hung with scarlet. The long galleries were crowded by 



EXAMPLES — MODERATE MOVEMENT. 153 

such an audience as has rarely excited the fears or the emu- 
lation of an orator. 

There were gathered together, from all parts of a great, 
free, enlightened, and prosperous empire, grace and female 
loveliness, wit and learning, the representatives of every 
science and of every art. There were seated round «the 
queen the fair-haired young daughters of the house of 
Brunswick. There the ambassadors of great kiDgs and 
commonwealths gazed with admiration on a spectacle which 
no other country in the world could present. There Sid- 
dons, in the prime of her majestic beauty, looked with 
emotion on a scene surpassing all the imitations of the stage. 

There the historian of the Roman empire (Gibbon) thought 
of the days when Cicero plead the cause of Sicily against 
Verres, and when, before a Senate that still retained some 
show of freedom, Tacitus thundered against the oppressor 
of Africa. There were seen, side by side, the greatest 
scholar and the greatest painter of the age. The spectacle 
had allured Reynolds from that easel which has preserved to 
us the thoughtful foreheads of so many writers and statesmen, 
and the sweet smiles of so many noble matrons. It had in- 
duced Parr to suspend his labors in that dark and profound 
mine from which he had extracted a vast treasure of erudi- 
tion. 

Description. 

62. 

["Gibraltar."— Mark Twain.'] 

We were approaching the famed Pillars of Hercules, and 
already the African one, "Ape's Hill," a grand old moun- 
tain with summit streaked with granite ledges, was in sight. 
The ancients considered the Pillars of Hercules the head 



154 COMMON SCHOOL ELOCUTION. 

of navigation and the end of the world. The information 
the ancients did not have was very voluminous. In a few 
moments a lonely and enormous mass of rock, standing 
seemingly in the centre of the wide strait and apparently 
washed on all sides by the sea, swung magnificently into 
view, and we needed no tedious traveled parrot to tell us it 
was Gibraltar. There could not be two rocks like that in 
one kingdom. 

The Rock of Gibraltar is about a mile and a half long, 
by fourteen hundred to fifteen hundred feet high, and a 
quarter of a mile wide at its base. One side and one end 
of it come about as straight up out of the sea as the side of 
a house ; the other end is irregular, and the other side is 
a steep slant which an army would find it very difficult to 
climb. At the foot of this slant and occupying a part of it 
is the walled town of Gibraltar. 

Everywhere — on hillside, in the precipice, by the sea, on 
the heights — everywhere you choose to look, Gibraltar is 
clad with masonry and bristling with guns. Pushed out 
into the sea on the end of a flat, narrow strip of land, it 
makes a striking and lively picture from whatsoever point 
you contemplate it. A few hundred yards of this flat 
ground at its base belongs to the English, and then, 
extending across the strip from the Atlantic to the Med- 
iterranean, a distance of a quarter of a mile, comes the 
" neutral ground," a space two or three hundred yards wide, 
which is free, to both parties. 

' 'Are you going through Spain to Paris ? " That question 
had been bandied about the ship, day and night, from Fayal 
to Gibraltar, and I thought I could never get so tired of 
hearing any one combination of words again, or more tired 
of answering, "I don't know." At the last moment six or 
seven of our number had sufficient decision of character to 



EXAMPLES — MODERATE MOVEMENT. 155 

make up their minds to go, and did go, and I felt a sense 
of relief at once ; it was forever too late, now, and I could 
make up my mind at my leisure not to go. I must have a 
prodigious quantity of mind ; it takes me as much as a week 
sometimes to make it up. 

But behold how annoyances repeat themselves ! We had 
no sooner got rid of the Spain distress than the Gibraltar 
guides started another, a tiresome repetition of a legend 
that had nothing very astonishing about it even in the first 
place: " That high hill yonder is called the Queen's Chair; 
it is because one of the queens of Spain placed her chair 
there when the French and Spanish troops were beseiging 
Gibraltar, and said she would never move from the spot till 
the English flag was lowered from the fortresses. If the 
English had not been gallant enough to lower the flag for a 
few hours one day, she would have had to break her oath or 
die up there.' ' 

We rode on mules up the steep, narrow streets, and entered 
the subterranean galleries the English have blasted out in the 
rock. Here, at short intervals, great guns frown out upon 
the sea and town, through portholes five and six hundred 
feet above the ocean. These guns command the peninsula 
and the adjacent harbors. From the lofty portholes you 
get superb views of the sea. At one place, where a jutting 
crag was hollowed out into a great chamber, whose furniture 
was huge cannon, and whose windows were portholes, a 
glimpse was caught of a hill not far away, and a soldier 
said: "That high hill yonder is called the Queen's Chair; 
it is because a queen of Spain placed her chair there once 
when " — et cetera, et cetera. 

On the topmost pinnacle of Gibraltar we halted a good 
while, and no doubt the mules were tired. They had a right 



156 COMMON SCHOOL ELOCUTION. 

to be. The military road was good, bat rather steep, and 
there was a good deal of it. The view from the narrow 
ledge was magnificent ; from it vessels seeming like tiniest 
little toy-boats were turned into noble ships by the tele- 
scope, and other vessels that were fifty miles away, and 
even sixty, they said, and invisible to the naked eye, could 
be clearly distinguished. Below, on one side, we looked 
down upon an endless mass of batteries; and on the other 
straight down to the sea. 

While I was resting comfortably on a rampart, and cooling 
my baking head in the delicious breeze, an officious guide 
belonging to another party came up and said : ' ' That high 
hill, yonder, sir, is called the Queen's Chair." " Sir," said 
I, interrupting him — ' ' sir, I am a helpless orphan, in a for- 
eign land. Have pity on me. Don't — now don't — inflict 
that most tiresome old legend on me any more to-day." 

Didactic Thought. 
[From "Shun Debt."— Bulwer.~\ 

Easy to keep out of debt! No, my young friend, it is 
difficult. Are you rich? The bland tradesman cries, "Pay 
when you please." Are you poor? Still your character is 
as yet without stain, and your character is a property on 
which you can borrow a trifle. But when you borrow on 
your character, it is your character that you leave in pawn. 

Young friend, learn to say No. The worst that the "No" 
can inflict on you is a privation — a want — always short of 
starvation. No young man with the average health of youth 
need be in danger of starving. Be contented. Say No! 
Keep out of peril your honor. Shake hands ; we are agreed. 
You consent to have a horror of debt. 



EXAMPLES SLOW MOVEMENT. 157 

140. SLOW MOVEMENT. 

Slow Movement is used in the expression of senti- 
ments of reverence, solemnity, grandeur, awe, melan- 
choly, despair and gloom. 

141. Examples: Amazement — Awe. 

63. 

[From "Darkness.'* — Byron.'] 

The world was void : 
The populous and the powerful was a lump, 
Seasonless, herbless, treeless, manless, lifeless ; 
A lump of death, a chaos of hard clay. 
The rivers, lakes, and ocean all stood still, 
And nothing stirred within their silent depths. 
Ships, sailorless, lay rotting on the sea, 
And their masts fell down piecemeal ; as they dropped 
They slept on the abyss, without a surge. 
The waves were dead ; the tides were in their grave ; 
The moon, their mistress, had expired before ; 
The winds were withered in the stagnant air, 
And the clouds perished : Darkness had no need 
Of aid from them — she was the universe. 

Gloom. 

64. 

[From Poe's " Bells."] 

Hear the tolling of the bells — 

Iron bells ! 
What a world of solemn thought their monody compels ! 

In the silence of the night 

How we shiver with affright 



158 COMMON SCHOOL ELOCUTION. 

At the melancholy menace of their tone. 
For every sound that floats 
From the rust within their throats 
Is a groan. 

Reverence — Devotion. 
65. 
[From "The Forest Hymn." — Bryant.] 
O God ! when thou 
Dost scare the world with tempests, set on fire 
The heavens with falling thunderbolts, or fill, 
With all the waters of the firmament, 
The swift, dark whirlwind that uproots the woods 
And drowns the villages ; when, at thy call, 
Uprises the great deep, and throws himself 
Upon the continent, and overwhelms 
Its cities ; who forgets not, at the sight 
Of these tremendous tokens of thy power, 
His pride, and lays his strifes and follies by ! 
O from these sterner aspects of Thy face 
Spare me and mine ; nor let us need the wrath 
Of the mad, unchained elements to teach 
Who rules them. Be it ours to meditate, 
In these calm shades, Thy milder majesty. 
And to the beautiful order of Thy works 
Learn to conform the order of our lives. 

Sublimity — Awe. 
66. 
[From "The Closing Year." — Prentiss.'] 
The year 
Has gone, and with it, many a glorious throng 
Of happy dreams. Its mark is on each brow, 



EXAMPLES RAPID MOVEMENT. 159 

Its shadow in each heart. In its*swift course, 
It waved its sceptre o'er the beautiful, — 
And they are not. It laid its pallid hand 
Upon the strong man, — and the haughty form 
Is fallen, and the flashing eye is dim. 
It trod the hall of revelry, where thronged 
The bright and joyous, — and the tearful wail 
Of stricken ones is heard where erst the song 
And reckless shout resounded. 

It passed o'er 
The battle-plain where sword, and spear, and shield, 
Flashed in the light of mid-day, — and the strength 
Of serried hosts is shivered, and the grass, 
Green from the soil of carnage, waves above 
The crushed and mouldering skeleton. It came, 
And faded like a wreath of mist at eve ; 
Yet ere it melted in the viewless air 
It heralded its millions to their home 
In the dim land of dreams. 

142. RAPID MOVEME1STT. 

Kapid Movement is used in the expression of lively, 
gay and joyous thought and exciting emotions emanat- 
ing from joy or fear. 

143. Examples : Joy. 

67. 

[From " The Bells." — Poe.] 

Hear the sledges with the bells — 
Silver bells — 
What a world of merriment their melody foretells ! 



160 COMMON SCHOOL ELOCUTION. 

How they tinkfle, tinkle, tinkle, 

In the icy air of night ! 
While the stars that oversprinkle 
All the heavens seem to twinkle 

With a crystalline delight ; 
Keeping time, time, time, 
In a sort of Runic rhyme, 
To the tintinnabulation that so musically wells 
From the bells, bells, bells, bells, 
Bells, bells, bells — 
From the jingling and the tinkling of the bells ! 

Gayety. 

68. 
[From "Rhyme of the Rail." — Saxe.] 

Singing through the forests, 

Rattling over ridges, 
Shooting under arches, 

Rumbling over bridges ; 
Whizzing through the mountains, 

Buzzing o'er the vale, 
Bless me ! this is pleasant, 

Riding on the rail. 

Men of different stations 

In the eye of fame, 
Here are very quickly 

Coming to the same ; 
High and lowly people, 

Birds of every feather, 
On a common level, 

Traveling together. 



EXAMPLES— -RAPID MOVEMENT. 161 

Gentlemen in shorts, 

Looming very tall ; 
Gentlemen at large, 

Talking very small ; 
Gentlemen in tights, 

With a loose-ish mien ; 
Gentlemen in gray, 

Looking rather green. 

Gentlemen quite old 

Asking for the news ; 
Gentlemen in black, 

In a fit of blues ; 
Gentlemen in claret, 

Sober as a vicar ; 
Gentlemen in tweed, 

Dreadfully in liquor. 

Stranger on the right 
Looking very sunny, 

Obviously reading 

Something rather funny. 

Now the smiles are thicker — 
Wonder what they mean? 

Faith, he's got the Knicker- 
bocker Magazine ! 

Stranger on the left 

Closing up his peepers ; 
Now he snores amain, 

Like the Seven Sleepers. 

Ancient maiden lady 
Anxiously remarks, 
That there must be peril 



162 COMMON SCHOOL ELOCUTION. 

'Mong so many sparks ; 
Roguish-looking fellow, 

Turning to the stranger, 
Says it's his opinion 

She is out of danger. 

Woman with her baby, 

Sitting vis-a-vis ; 
Baby keeps a-squalling, 

"Woman looks at me ; 
Asks about the distance, 

Says it's tiresome talking, 
Noises of the cars 

Are so very shocking. 

Market woman, careful 

Of the precious casket, 
Knowing eggs are eggs, 

Tightly holds her basket ; 
Feeling that a smash, 

If it come, would surely 
Send her eggs to pot 

Rather prematurely. 

Singing through the forests, 

Rattling over ridges, 
Shooting under arches, 

Rumbling over bridges ; 
Whizzing through the mountains, 

Buzzing o'er the vale ; 
Bless me ! this is pleasant, 

Riding on the rail. 



EXAMPLES — RAPID MOVEMENT. 163 

Excitement. 
[From "Lady of the Lake." — Scott.] 

" Now yield thee, or, by Him who made 

The world, thy heart's blood dyes my blade! " 
" Thy threats, thy mercy, I defy! 

Let recreant yield who fears to die." 

Like adder darting from his coil, 

Like wolf that dashes through the toil, 

Like mountain- cat who guards her young, 

Full at Fitz- James's throat he sprung, 

Received, but recked not of a wound, 

And locked his arms his foeman round. 

Commotion. 

69. 

[From * ' Mazeppa . " — Byron . ] 

Away, away, and on we dash ! 
Torrents less rapid and less rash. 
Away, away, my steed and I, 

Upon the pinions of the wind, 

All human dwellings left behind : 
We sped like meteors through the sky, 
When with its crackling sound the night 
Is checkered with the northern light : 
From out the forest prance 
A trampling troop — I see them come ; 
A thousand horse, and none to ride ; 
With flowing tail and flying mane, 
Wide nostrils, never stretched by pain, 
Mouths bloodless to the bit or rein, 



164 COMMON SCHOOL ELOCUTION. 

And feet that iron never shod, 



And flanks unscarred by spur or rod : 
A thousand horse — the wild, the free, 
Like waves that follow o'er the sea, 

Came thickly thundering on. 
They stop, they start, they snuff the air, 
Gallop a moment here and there, 
Approach, retire, wheel round and round, 
Then plunging back with sudden bound, 
They snort, they foam, neigh, swerve aside, 
And backward to the forest fly, 
By instinct, from a human eye. 

Consternation. 

70. 
[From " The Power of Habit." —J". B. Qough.'] 

I remember once riding from Buffalo to the' Niagara Falls. 
I said to a gentleman, "What river is that, sir? " 

" That," he said, " is Niagara River." 

"Well, it is a beautiful stream," said I; "bright, and 
fair and glassy ; how far off are the rapids? " 

" Only a mile or two," was the reply. 

" Is it possible that only a mile from us we shall find the 
water in the turbulence which it must show near to the 
Falls?" 

" You will find it so, sir." And so I found it; and the 
first sight of Niagara I shall never forget. Now, launch 
your bark on that Niagara River ; it is bright, smooth, beau- 
tiful and glassy. There is a ripple at the bow ; the silver 
wake you leave behind adds to the enjoyment. 

Down the stream you glide, oars, sails and helm in proper 



EXAMPLES RAPID MOVEMENT. 165 

trim, and you set out on your pleasure excursion. Sud- 
denly some one cries out from the bank, ''Young men, 
ahoy!" 

"What is it?" 

"The rapids are below you.* 

"Ha! hah! we have heard of the rapids, but we are not 
such fools as to get there. If we go too fast, then we shall 
up with the helm and steer to the shore ; we will set the mast 
in the socket, hoist the sail, and speed to the land. Then 
on, boys ; don't be alarmed — there is no danger." 

"Young men, ahoy there! " 

"What is it?" 

"The rapids are below you! " 

"Ha! hah! we will laugh and quaff; all things delight 
us. What care we for the future! No man ever saw it. 
Sufficient for the day is the evil thereof. We will enjoy 
life while we may ; will catch pleasure as it flies. This is 
enjoyment; time enough to steer out of danger when we 
are sailing swiftly with the current." 

" Young men, ahoy ! " 

"What is it?" 

"Beware! Beware! The rapids are below you ! " 

[ Very rapid.~\ Now you see the water foaming all around. 
See how fast you pass that point ! Up with the helm ! Now 
turn! Pull hard! quick! quick! quick! pull for your 
lives! pull till the blood starts from the nostrils, and the 
veins stand like whip-cords upon thy brow ! Set the mast 
in the socket ! hoist the sail ! — ah ! ah ! it is too late ! 
Shrieking, cursing, howling, blaspheming, over they go. 

Thousands go over the rapids every year, through the 
power of habit, crying all the while, " When I find out that 
it is injuring me I will give it up ! " 



166 COMMON SCHOOL ELOCUTION. 

144. Exercises on the Essential Elements. 

1. The pupil will examine the following sentences, 
and state the appropriate elements — as Quality, Force, 
Stress, Pitch, and Movement — required in the delivery 
of each, after which each sentence should be read iu 
the manner indicated by the sentiment. 

2. In this exercise keep constantly in mind that the 
appropriate element is determined by the contained 
thought, emotion or passion. 

3. As an additional exercise the teacher will select 
and place upon the blackboard sentences containing 
every variety of sentiment, and require the pupils to 
name the proper elements employed in their reading. 

1. O thou Eternal One, keep me from all harm. 

2. Quick ! mount the ladder ! tear away the shutter ! 

3. Slowly and sadly we laid him down. 

4. The furies curse you for your crime ! 

5. Augels and ministers of grace defend us ! 

6. Ay ! laugh, ye fiends ! I feel the truth ; 
Your task is done ; I'm mad ! I'm mad ! 

7. I cannot stand ! I fall ! Here let me rest. 

8. The lowing herd winds slowly o'er the lea. 

9 . Will he attempt to conceal his acts ? 

10. I know not what course others may take, but as 
for me, give me liberty, or give me death. 

11. Hear, O Heavens ! and give ear, O Earth ! 

12. *Be we men, and suffer such dishonor? 

13. James, bring me your book. 

14. If ye be men, follow me. 



EXERCISES ON THE ESSENTIAL ELEMENTS. 167 

15. Once I was pure as the snow, — but I fell ! 

16. Mother, the angels do so smile, and beckon 
little Jim. 

17. Yes, my friends, death has been among us. 

18. I have no desire for office, not even the highest. 

19. "Treason!" cried the speaker; "treason, 
treason, treason," resounded from every part of the 
house. 

20. 'Tis a time for memory and for tears. 

21. Creator, yes. Thy wisdom and thy word — 
created me. 

22. There's a burden of grief on the breezes of 
spring. 

23. Is this a time to be gloomy and sad? 

24. Laugh heartily if you would keep the dew of 
your youth. 

25. 'Tis not enough the voice be sound and clear, 
'Tis modulation that must charm the ear. 

26. Hush ! breathe it not aloud, 
The wild winds must not hear it. 

27. A good man is rather to be chosen than great 
riches. 

28. Hath a dog money? Is it possible that a cur 
can lend three thousand ducats ? 

29. Now o'er the one half world 

Nature seems dead, and wicked dreams abuse 
The curtained sleep. 

30. The name of that Isle is the Long Ago, 
And we bury our treasures there. 

31. Hush ! Hark ! I hear a footstep ! 



168 COMMON SCHOOL ELOCUTION. 

32. " Look to Jesus ! Can — you — hear? " "Ay, 
ay, sir ! " 
V 33. Forward, Battery B ! 

34. Slave, do thy office ! Strike as I struck the 
foe. 

55. "Fur," said the Deacon, "'t's mighty plain. 
That the weakes' place mus' stan' the strain." 
36. Blessed be Thy name, O Lord, Most High. 

QUESTIONS OF MOVEMENT. 

1. Define Movement of voice. 2. Upon what does 
the rate of Movement depend? 3. What changes is 
the mind constantly undergoing? 4. How do these 
changes affect the Movement? 5. What is suggested 
by the slow step and mournful dirge? 6. Why is a 
perfect command of every degree of Movement essen- 
tial? 7. What are the classes of Movement? 8. 
When is Moderate Movement used? 9. What is Mod- 
erate Movement understood to include? 10. Name 
three selections requiring Moderate Movement and 
give your reason. 11. When is Slow Movement em- 
ployed? 12. Name some selections to be read with 
Slow Movement. 13. When is Rapid Movement 
used? 14. Name selections requiring Rapid Move- 
ment. 15. In the 19th and 35th sentences under " Ex- 
ercises on the Essential Elements " why are two very 
different classes of elements employed in each sen- 
tence ? 



ACCIDENTAL ELEMENTS. 169 

145. ACCIDENTAL ELEMENTS. 

1. The Accidents are those elements of vocal ex- 
pression which, though occurring at intervals, are not 
found in all sentences. 

2. Every thought must be expressed in some Qual- 
ity, with some degree of Force, a prevailing Stress, a 
general Pitch and with appropriate Movement ; while 
the same thought as a whole, may or may not require 
the elements termed accidents, to render it correctly. 

3. The Essential Elements modify the general 
thought as expressed in the words composing the sen- 
tence taken as a whole ; while the Accidental Ele- 
ments turn the minds of the hearers for the time to 
the individual idea contained in a word or phrase. 

Quantity. 
Slides. 
Waves. 
Accidental J Slur. 
Elements. 1 Emphasis. 
Pauses. 
Cadence. 
. Climax. 

146. QUANTITY. 

1. Quantity is the time occupied in the utterance of 
single syllables or words. 

2. Quantity should not be confounded with Volume. 
A syllable may be long in quantity without being great 
in volume. Long Quantity signifies a prolongation of 



170 COMMON SCHOOL ELOCUTION. 

an elementary sound, which must necessarily be a con- 
tinuant. Full Volume signifies fullness or rotundity 
of sound, and may or may not accompany Long 
Quantity. 

3. Words singly and collectively stand for ideas, and 
often a single word, appropriately uttered, conveys a 
meaning that an entire sentence otherwise spoken 
would fail to express ; accordingly, words are uttered 
in Long, Short or Medium Quantity, according to 
the significance or intensity of the ideas they are em- 
ployed to express. 

4. It is the application of this principle — coupled 
with the proper movement and pauses that gives such 
majesty and power to the rendition, of Shakespeare's 
great compositions, when such a master artist as a 
Macready, Kean or Booth throws his conceptions into 
the delivery. 

147. LONG QUANTITY. 

Long Quantity is an indefinite prolongation of single 
syllables and words. 



148. LAW OF USE. 

Long Quantity is applied to words of dignity and 
strength, according to the intensity of sentiment and 
attendant circumstances, in the expression of tender- 
ness, reverence, adoration, solemnity, sublimity, shout- 
ing, calling and commanding. 



EXAMPLES LONG QUANTITY. 171 

149. Examples: Tenderness — Keverence. 

71. ' 

[From "ClaribePs Prayer." — Linde Palmer.] 

The day, with cold, gray feet, clung shivering to the hills, 
While o'er the valley still night's rain-fringed curtains fell ; 

But waking Blue Eyes smiled, " 'Tis ever as God wills ; 
He knoweth best ; and be it rain or shine, 'tis well. 
Praise God! " cried always little Claribel. 

Then sank she on her knees, with eager, lifted hands ; 

Her rosy lips made haste some dear request to tell : 
11 Oh Father, smile, and save this fairest of all lands, 

And make her free, whatever hearts rebel. 

Amen! Praise God! " cried little Claribel. 

"And, Father," — still arose another pleading prayer, — 
" O, save my brother, in the rain of shot and shell ; 

Let not the death-bolt, with its horrid, streaming hair, 
Dash light from those sweet eyes I love so well. 

" But, Father, grant that when the glorious fight is done, 
And up the crimsom sky the shouts of Freedom swell, 

Grant that there be no nobler victor 'neath the sun 
Than he whose golden hair I love so well. 
Amen! Praise God!" cried little Claribel. 

When the gray and dreary day shook hands with grayer 

night, 
The heavy air was filled with clangor of a bell. 
O, shout! " the herald cried, his worn eyes brimmed with 

light; 
" 'Tis victory! O, what glorious news to tell! " 
" Praise God! He heard my prayer," cried Claribel. 



u 



172 COMMON SCHOOL ELOCUTION. 

14 But, pray you, soldier, was my brother in the fight? 
And in the fiery rain? O, fought he brave and well? " 

" Dear child," the herald cried, " there was no braver sight 
Than his young form, so grand 'mid shot and shell." 
" Praise God ! " cried trembling little Claribel. 

"And rides he now with victor's plumes of red, 
While trumpet's golden throats his coming steps foretell?" 

The herald dropped a tear. " Dear child," he softly said, 
" Thy brother evermore with conquerors shall dwell." 
44 Praise God! He heard my prayer," cried Claribel. 

" With victors wearing crowns and bearing palms" he said, 
A snow of sudden fear upon the rose lips fell ; 

44 O, sweetest herald, say my brother lives," she plead. 
" Dear child, he walks with angels, who in strength excel, 
Praise God, who gave this glory, Claribel." 

The cold, gray day died sobbing on the weary hills, 
While bitter mourning on the night wind rose and fell. 

44 O, child," — the herald wept, — u 'tis as the dear Lord 
wills: 
He knowethbest, and, be it life or death, 'tis well." 
44 Amen! Praise God! " sobbed little Claribel. 

Sublimity — Grandeur. 

72. 
["Bugle Song." — Tennyson.] 

The splendor falls on castle walls, 

And snowy summits old in story ; 
The long light shakes across the lakes, 
And the wild cataract leaps in glory. 
Blow, bugle, blow; set the wild echoes flying ; 
Blow, bugle; answer, echoes, dying, dying, dying. 



EXAMPLES — SHORT QUANTTTT. 173 

O hark, O hear ! how thin and clear, 

And thinner, clearer, farther going ; 
O sweet and far, from cliff and scar, 
The horns of Elf-lani faintly blowing ! 
Blow; let us hear the purple glens replying ; 
Blow, bugle; answer, echoes, dying, dying, dying. 

O love, they die, in yon rich sky, 

They faint on field, on hill, on river ; 
Our echoes roll from soul to soul, 
And grow forever and forever. 
Blow, bugle, blow; set the wild echoes flying, 
And answer, echoes, answer, dying, dying, dying. 

Shouting — Calling. 

[From " Satan's Call to his Legions." — Milton.'] 

Princes! Potentates! 
Warriors ! The flower of heaven ! once yours, now lost, 
If such astonishment as this can seize eternal spirits, 
Awake, arise, or be forever fallen ! 

150. SHORT QUANTITY. 

Short Quantity is the sharp, quick utterance of syl- 
lables and words. 

151. LAW OF USE. 

Short Quantity is characteristic of excitement and 
impatience, and is used in the expression of great joy, 
mirth, command, sudden anger, revenge and violent 
hate. 



174 COMMON SCHOOL ELOCUTION. 

152. Examples : Playfulness. 

73. 

[From " Baby Bunn." — Josie H.} 

Winsome Baby Bunn ! 
Brighter than the stars that rise 
In the dusky evening skies ; 
Browner than the robin's wing, 
Clearer than the woodland spring, 
Are the eyes of Baby Bunn — 

Winsome Baby Bunn ! 

Smile, mother, smile! 
Thinking softly all the while 

Of a tender, blissful day, 
When the dark eyes, so like these 
Of the cherub on your knees, 

Stole your girlish heart away. 
Oh, the eyes of Baby Bunn ! 

Rarest mischief will they do 
When once old enough to steal 

What their father stole from you ! 
Smile, mother, smile ! 

Winsome Baby Bunn ! 
Milk-white lilies half unrolled, 
Set in calyces of gold, 
Cannot make his forehead fair, 
With its rings of yellow hair ! 
Scarlet berry, cleft in twain 
By a wedge of pearly grain, 
Is the mouth of Baby Bunn — 

Winsome Baby Bunn ! 



EXAMPLES — SHORT QUANTITY. 175 

Weep, mother, weep 
For the little one asleep 

With his head against your breast ! 
Never in the coming years, 
Though he seeks for it with tears, 

Will he find so sweet a rest. 

Oh, the breath of Baby Bunn ! 
Oh, the scarlet mouth of Bunn ! 
One man wears its crown of thorns ; 
Drink its cup of gall must one ! 
Though the trembling lips shall shrink, 
White with anguish, as they drink^ 
And the temble sweat with pain 
Drops of blood, like purple rain — 
Weep, mother, weep ! 

Winsome Baby Bunn ! 
Not the sea-shell's palest tinge, 
Not the daisy's rose- white fringe, 
Not the softest, faintest glow 
Of the sunset on the snow, 
Is more beautiful and sweet 
Than the wee pink hands and feet 
Of the little Baby Bunn — 
Winsome Baby Bunn ! 
Feet like these may lose the way, 

Wandering blindly from the right ; 
Pray, and sometimes will your prayers 
Be to him like golden stairs 

Built through darkness into light. 
Oh, the dimpled feet of Bunn, 

In their silken stockings dressed ! 



176 COMMON SCHOOL ELOCUTION. 

Oh, the dainty hands of Bunn, 

Hid like rose-leaves in your breast ! 
Those will wanfler on the way — 
Pray, mother, pray! 

Mirth. 

[From "The Enchanted Shirt."— John Hay.] 

The merry blackguard lay back on the grass 
And laughed till his face was black ; 
" I would do it, God wot," and he roared with fun, 
" But I haven't a shirt to my back." 

Quick Command. 
Begone ! 

Run to your house ! fall upon your knees. 
Pray to the gods to intermit the plagues. 

153. MEDIUM QUANTITY. 

Medium Quantity is the rate of uttering individual 
words heard in unemotional discourse. 

154. LAW OF USE. 

Medium Quantity applies to words of no marked 
significance used in ordinary narration, description 
and unimpassioned conversation, 

155. Examples : Narration. 

74. 

["Eggs."— Beecher.] 

I never come upon a nest of eggs, secreted by the hen 
most conscientiously, and unknown to the most searching 



EXAMPLES MEDIUM QUANTITY. 177 

housekeeper, without a sense of boyish delight, which would 
bring down on me the reproving looks and grave admonitions 
from all who have an awful sense of the proper dignity of 
ministers. But I have no doubt soda and acids come to- 
gether with the very best of resolutions. They are deter- 
mined to restrain themselves and not foam over. Yet the 
very first drop of water sets them off, and they make bub- 
bles and throw them in each other's face at a furious rate, 
in spite of the efforts at self government. Now what is to 
be done about it? Were they not made so? And are not 
some people made so as to effervesce easily ? Why they were 
made so is a question that should be addressed to another 
quarter. 

Well, I was saying that the discovery of hidden eggs was 
always an excitement, and there have been times when the 
excitement was prolonged and extreme. It chanced in this 
wise, and in the goodly State of Indiana. 

No more neat, careful, exact, and scrupulous housekeeper 
ever was seen in the Hoosier State than our fair landlady, 
who had us in special charge during the absence of our 
proper head and queen, who sought health on the seaboard. 
An old-fashioned barn there was, huge in the middle, with a 
variety of sheds, lean-tos, stables, and carriage houses pro- 
jecting on every side of it, as if the barn had settled a 
family of little barns all around it. It was a family barn, 
beloved of hens and boys. For in its roomy interior and in 
the passages, bins, nooks and corners, all sorts of frolics 
might be carried on; while an occasional "peak" at the 
cracks would keep them informed when the old man was 
coming. 

But hens, who have a secretive tendency, a modesty of the 

nest, find their paradise in such a voluminous barn. Here 

they may lay in silence, and proclaim it in vociferous cackle, 
12 



178 COMMON SCHOOL ELOCUTION. 

bringing down the whole barnyard in chorus, and waking 
echoes in the neighboring hen yards ; and yet the searcher 
finds nothing! 

' ' That pesky hen ! she lays every day, and yet we are 
none the better for her eggs. I wonder where she hides ! 
If Harry was half as smart as his father, I know that he 
could find that nest." 

Again and again came the exultant cackle, and again and 
again we were without custards ! 

And so, one mellow autumn day, we wandered through 
the garden and strolled into the barn. It was not so full 
but that it had the sense of great space. It was festooned 
with cobwebs, and had all the tribes of spiders that hide in 
half lights. We climbed the beams, we jumped down from 
far up on the hay, and finally, after sundry amusements, lay 
down by the side where the shrunk boards gave us an in- 
speotion-crack, from which we swept the neighborhood — 
saw and were unseen. Soon we heard the least possible 
sound of a foot on the hay. Turning our head, we beheld 
the productive but unprofitable hen stealing toward her 
secret nest. It was the one time too often. We knew as 
much as she did. 

How rapacious are all conquerors! There was the 
rounded nest, well sunk in the corner, full, brimful of 
eggs — thirteen, besides one for a nest egg ! As Oriental 
kings despoil a captured city, rob from a people, pull down 
their choice architecture and quite discrown its beauty, so 
we found the nest glowing white as marble, and left it — 
like hay. 

Is there not a Providence for hens ? Is there not a fate 
that follows the most obscure and unwatched violence ? 

We put the eggs safely in our coat-tail pocket, and walked 
cautiously. It recalled a piece of disreputable carelessness 






EXAMPLES MEDIUM QUANTITY. 179 

on our father's part, who once sat down on a dozen eggs, 
and went up as if every egg was a bomb, and every bomb an 
explosion. But then he was a notoriously absent-minded 
man. His very example was our safety. And yet we dwelt 
with some inward mirth, as we walked to the house, on the 
ludicrous figure which our father cut. Dinner was spread as 
we came in. Some questions came up which diverted our 
thoughts from the discovery of the nest — indeed, we forgot 
that we had eggs about us, and drew up to the table and sat 
down with an alacrity which was only equalled ~bj the spring 
with which we got up. 

"Gracious! " 

" Why, what is the matter? " 

"Matter enough! " 

' ' Are you sick ? Do let — " 

I drew my hand from my pocket streaming with liquid 
chicken, never to be born, and the disgusting secret was out ! 
That woman was a saint ! My pockets were duly cleansed, 
without one cutting word. I can imagine the process, but 
never like to dwell upon it. Would you believe it, the same 
thing happened in a few weeks again ? It did, and to the 
very same person! But never since then, no — never! 
From that day to this we do not remember ever to have 
even taken an egg. 

1. When I see a man who allows himself to be puffed up 
and flattered, I know that his time will come when he will sit 
down on his eggs. 

2. When I see men who are robbing, right and left, and 
filling their pockets with unlawful wealth which other men 
earned, I say, "You will sit down on those eggs yet." 

3. When over-cunning men think that they can outwit all 
their fellows, and are exulting at the success which their 
shrewdness has achieved, I say to myself, "Fill your 
pockets ! By-and-bye you will sit down on those eggs." 



180 COMMON SCHOOL ELOCUTION. 

156. SLIDES. 

1. Slides are changes of Pitch, either upward or 
downward, on a single note or sound. They vary in 
degree of elevation or depression, according to the 
nature of the sentiment. 

2. Slides, also called inflections, should be distin- 
guished from waves, which are sometimes termed 
compound slides. The slides have but one direction 
of movement, either upward or downward ; while the 
waves, from the peculiar significance given certain 
words, by triple or double voice slides, are used to 
represent the utmost variety of inflection. 

3. The number of degrees of pitch through which 
the voice slides, is dependent wholly upon the inten- 
sity of the thought that occasions the movement. A 
knowledge of this principle dispenses with a multiplic- 
ity of rules, many of which are of such doubtful ap- 
plication as to perplex more than aid the learner. 

4. The pupil is reminded of the importance of 
Slides in rendering the sense of a passage intelligible, 
and he should bear in mind that a thorough under- 
standing of their force and proper application will con- 
tribute as much to his general delivery as any element 
employed in expression. 

5. Many teachers, appreciating the value of the 
slides in breaking up the monotonous drawl of some 
pupils, have succeeded in making passable readers by 
requiring the appropriate slides to be marked in the 
pupils' books, and insisting upon their use. 



SLIDES. 181 

6. While this method of determining the required 
slide is permissible with young pupils and those un- 
trained in the principles of elocution, its practice 
should not be continued beyond the mastery of the 
subjects of Slides and Waves. 

7. The Slides are designated 

157. Upward Slide and Downward Slide, 
and may be represented to the eye thus : — 

Upward Slide : Did he bring the \P 

a* 

o 

Downward Slide : He did not bring the ? 

8. In the Upward Slide the voice drops momen- 
tarily on the word immediately preceding the required 
elevation, and then rises above the prevailing pitch 
one or more notes according to the intensity of the 
sentiment. 

9. In the Downward Slide there is a slight eleva- 
tion of pitch on the word immediately preceding the 
slide word, and then a downward movement from this 
note to the general key, or one or more notes below, 
according to the nature of the sentiment. 

10. The extent of both slides depends upon the de- 
gree of emotion prompting them ; but in every instance 
the space swept by the voice is marked by some one 
of the musical intervals of a major scale, viz. : a 
"third," "fifth" or "octave;" that is, the voice 
slides through an interval of three, five or eight 
notes. 



182 COMMON SCHOOL ELOCUTION. 

158. UPWARD SLIDE. 

The Upward Slide is an elevation of voice through 
the concrete change of pitch. 

2. The degree of elevation to which the voice rises 
depends upon the earnestness of the speaker. 

3. A mild interrogation, indicating but little inter- 
est in the answer to be elicited, would require the 
slide of a rising third; as, 

Will you go to the Falls this summer? 

4. Questions arising from moderate emotion, earn- 
estness, or doubt, require a rising fifth; as, 

Where shall I hide it? 
What will he do with me? 
What can he mean ? 

5. Exclamations and interrogations of intense sur- 
prise, violent agitation, and overwhelming astonish- 
ment, require the rising octave; as, 

Who did this? 

What, looked he frowningly? 

Seems, madame? 

Nay, it is ; I know not seems ! 

Saw who ? 

My Lord, the king, your father. 

The king? My father? 

159. DOWNWARD SLIDE. 

1. The Downward Slide is a downward movement 
of voice through the concrete change of pitch. 



DOWNWARD SLIDE. 183 

2. The degree of depression to which the voice 
slides depends upon the completeness, exactness, or 
definiteness of the thought in the speaker's mind. 

3. A general statement of facts where no contradic- 
tion is anticipated requires a Downward Slide of the 
third ; as, 

Honesty will be rewarded. 

4. Statements implying a settled determination and 
a confidence in the speaker's ability to perform what 
he proposes, require a Downward Slide of the fifth ; 
as, 

I am determined to go. 

What I purpose that I perform. 

You can depend upon my promise. 

5. Expressions of strong emotion, such as unques- 
tioned authority, denunciation, and hatred, require the 
Downward Slide of the octave ; as, 

Begone ! Away with you ! 

Woe unto you Pharisees ! Woe unto you Scribes ? 

The furies curse you. 

Poison be their drink. 

Gall, worse than gall, the daintiest meat they eat. 

160. General Rules for the Use of Both Slides. 

Upward Slide. The Upward Slide, with degrees of 
elevation varying with the intensity of thought, is 
employed upon the accented syllable of those words 
used singly, in phrases or sentences denoting (1) 
incompletenesss of thought, (2) indifference, (3) un- 
certainty, (4) doubt, (5) contingency, and (6) 
negation ; as, 



184 COMMON SCHOOL ELOCUTION. 

1. We came over this morning to' — 

2. He can take his choice. 

3. The task seems difficult. 

4. What if we are opposed in our plans? 

5. Though he slay me, I shall love him. 

6. I do not doubt your word. 

161. DOWNWARD SLIDE. 

The Downward Slide, with degrees of depression 
corresponding to the intensity of thought, is employed 
upon the accented syllable of those words used singly, 
in phrases or in sentences denoting (1) complete- 
ness of thought, (2) determination, (3) certainty, 
(4) positive and decisive declaration, (5) emphatic 
exclamation ; as, 

1. Garfield was mourned by many nations. 

2. We shall attack the fort at sunrise. 

3. I know that my Redeemer liveth. 

4. Thine eyes shall see the truth of what I sa v y. 

5. I dare' accusation ! I defy' the honorable gentle- 
man. 

162. Specific Rules for the Slides. 

Although the general rules will be sufficient for the 
determination of the appropriate Slide in most cases, 
yet sentences frequently occur in which the application 
of the principles is not apparent. The following spe- 
cific rules will render the selection of the proper Slide 
simple for the youngest pupil : — 

Rule I. 

Questions seeking the answer yes or no (the speaker 






RULES FOR SLIDES. 185 

not knowing which) receive the Upward /Slide, and 
their answers, generally, the Downward Slide; as, 

Will you meet me at the hotel' ? Yes\ 

Note. — The answer might have been given, "Yes, — I guess so," 
if the individual addressed was indifferent about going. 

Rule II. 

Questions seeking the answer yes or no (the speaker 
knowing which) receive the Downward Slide, and their 
answers, generally, the same ; as, 

Is not that a magnificent tree, ? Yes r 
Haven't I treated you as a genfleman? Yes,. 
Did I ever wrong you i 9 No r 

Eule III. 

Questions which cannot be answered by yes or no 
receive the Downward Slide, and their answers the 
same ; as, 

When did you arrive? Yesterday. 

Note. — If the question asks for a repetition of an answer not 
understood, the emphasis on " when " will change the Slide ; as, 

When did you say'? 

If, however, the question receives no answer, and is 
repeated, the Slide not only remains the same, but 
passes downward through another interval ; as, 

When did you arrive? 



186 COMMON SCHOOL ELOCUTION. 

Rule IV. 

A completion of sense contained in a phrase or a 
clause, whether at the close of a sentence or not, re- 
quires the Downward Slide ; as, 

"And everywhere it is a thing of beauty — gleaming 
in the dew-drop ; singing in the summer rain ; shin- 
ing in the ice-gem, till the trees all seem turned to 
living jewels — whose warp is the rain-drop of earth', 
whose woof is the smirbeam of heav'en, all checked 
over the celestial flowers, by the mystic hand of re- 
fraction." 

Rule V. 

Words expressing a contrast have opposite Slides ; 
usually the first word receives the Upward and the 
second, the Downward Slide ; as, 

I have experienced plea'sure and pain, joy' and sor- 
row, and I know the uncertainties of life. 

Note. — When one side of the contrast is affirmed and the other 
denied, the latter has the Upward and the former the Downward 
Slide, regardless of the order in which they occur ; as, 

I am here to act', not to talk. 

Rule VI. 

Words expressing pity, kindness, gentle reproof, en- 
treaty and tender emotions, usually require the Upward 
Slide of the third ; as, 

Poor little child ! how she suffers'. 

O Jo'hn ! Do come away . 



WAVES. 187 

Is your farther well', the old man of whom ye spa'ke ! 
Is he' yet aliv'e? 



163. WAVES. 

1. Waves are compound movements of the voice on 
the same syllable or word. 

2. The Wave of the voice is sometimes termed cir- 
cumflex (from circum, around, and Jlectere, to bend) on 
account of the twisting movement which the tone 
seems to make in passing over the vowels. 

3. The Waves are usually considered as combinations 
of the two Slides / and \ , and are accordingly some- 
times represented thus, \y and /\, or w and ^-s. 

4. An examination of the sound heard in a number 
of examples, uttered by a master of the voice, will 
show that while the Waves are combinations of the 
Slides, the characters given above fall very far short of 
conveying to the eye the natural movement of the 
voice. 

5. The varieties of Waves consisting of every con- 
ceivable twisting of tone, with an indefinite prolonga- 
tion and combination of Quality, Stress and Pitch, is 
wonderful. Dr. Rush has enumerated one hundred and 
eighty varieties, and many more could doubtless be 
detected. 

6. The character of the Wave to be used depends 
entirely upon the nature of the sentiment, and the pe- 
culiar meaning the speaker designs his words to 
convey ; and as the shades of meaning a single word 
may be made to portray are as numerous as the moods 



188 COMMON SCHOOL ELOCUTION. 

of mind, no attempt will be made to represent by a 
printed character the appropriate Wave in the following 
examples. The pupil should study the probable mean- 
ing of the wave words from the circumstances sur- 
rounding the speaker, and apply such combination of 
voice Slides as he thinks will express the speaker's 
meaning effectively : — 

164. GENERAL LAW OF USE. 

The Waves are employed to express contrast* or 
comparison, double meaning, insinuation, wit, jest, 
drollery, irony, sarcasm, sneer and contempt. 

Note. — The exercises following afford an excellent practice in 
securing flexibility of voice, and much time and study may profit- 
ably be given to the various Slides which the sentiments require. 

165. Examples : — 

Note. — The words in Italics receive the Wave. 

1. Ah, it was you then that struck me ! 

2. I did not think that he would do it. 

3. What's in a name? That which we call a rose, 
By any other name would smell as sweet, 

4. Yet this is Rome, and we are Romans. 

5. I did not give a dollar. 

6. I did not give a dollar. 

[Repeat the fifth and sixth sentences so as to express 
different meanings.] 

7 If Caudle says so, then all must believe it, of 
course. 



EXAMPLES WAVES . 189 

8. Hath a dog money? Is it possible 

A cur can lend three thousand ducats? 

9. A man who is in the daily use of ardent spirits, 
if he does not become a drunkard, is in danger of 
losing his health and character. 

[Note. — Read the above in such a manner as to render the 
man's becoming a drunkard necessary to preserve his health, and 
then read it as the speaker probably intended it should be under- 
stood.] 

10. A second Daniel, a Daniel, Jew ! 
Now, infidel, I have thee on the hip, 
A Daniel still I say ; a second Daniel ! 

I thank thee, Jew, for teaching me that word. 

11. Yet Brutus says he was ambitious, 
And Brutus is an honorable man. 

12. Was this ambition? 
Yet Brutus says he was ambitious, 
And, sure, he is an honorable man. 

13. And this man is now become a god! 

14. Rich in some dozen paltry villages! 
Strong in a hundred spearmen! 
Only great in that strange spell, — 
A name, 

15. My father's trade? Why, blockhead, are you 

mad? 
My father, sir, did never stoop so low, — 
He was a gentleman, I'd have you know. 

16. What ! shear a wolf? a prowling wolf? 



190 COMMON SCHOOL ELOCUTION. 

QUESTIONS ON THE ACCIDENTAL ELEMENTS. 
Quantity. Slides. Waves. 

1. Define Accidental Elements. 2. What elements 
must every sentence contain ? 3. What distinction in 
the modifying power-between Essential and Modifying 
Elements? 4. Name the Accidental Elements. 5. 
Define Quantity. 6. What is the difference between 
Quantity and Volume of Sound ? 7. What is said of 
the signfiicance of words appropriately uttered? 8. 
What are the divisions of Quantity? 9. What appli- 
cation of the principle of appropriate Quantity is 
cited? 10. Define Long Quantity. 11. State its Law 
of Use. 12. Name the two examples of this quantity, 
13. Define Short Quantity. 14. What is its Law of 
Use? 15. Define Medium Quantity. 16. State the 
Law of Use of Medium Quantity. 17. Define Slides. 
18. How do they vary? 19. Distinguish between 
Slides and Waves. 20. Upon what does the space 
through which the voice slides depend? 21. Of what 
benefit is this knowledge? 22. Of what is the pupil 
reminded in connection with the relative importance 
of Slides? 23. What practice of teachers is spoken 
of? 24. What is remarked of this method? 25. How 
are the Slides designated? 26. Describe the Upward 
Slide of voice. 27. Describe the Downward Slide. 
28. By what is the space swept by the voice marked 
in every instance? 28. Define Upward Slide. 30. 
State the several conditions that would require a 



SLUR. 191 

slide of a rising third; a fifth; an octave. 31. 
Define Downward Slide. 32. Upon what does the 
degree of depression which the voice attains depend? 

33. State the several conditions that would require the 
Downward Slide of the third ; the fifth ; the octave. 

34. Give the general rule for the use of both Slides. 

35. What is said of the application of the general rule ? 

36. State Rule I. Give the note under Rule I. 37. 
Give Rule II. 38. What is Rule III. ? Give the two 
notes under Rule III. 39. State Rule IV. 40. Give 
Rule V. and the note. 41. What is Rule VI.? 42. 
Define Waves. 43. By what other term is the Wave 
known and why? 44. What are the Waves usually 
considered? 45. What objection is there to using a 
combination of the Upward and Downward Slides to 
represent the Wave? 46. How many varieties of the 
Wave has Dr. Rush enumerated? 47. Upon what 
does the character of the Wave depend? 48. What 
direction is given regarding the appropriate Wave to 
be given to any word requiring it? 49. What is the 
Law governing the use of the Wave ? 50. What value 
is attached to the examples under the Wave ? 



166. SLUR. 

1. Slur is a smooth, rapid, subdued movement of 
voice over certain words, phrases and clauses of less 
importance than others with which they stand as- 
sociated. 

2. The object of Slur is to bring out the principal 
thought of a passage as contained in the leading clause 



192 COMMON SCHOOL ELOCUTION. 

by a subdued force and rapid movement over the sub- 
ordinate, or auxiliary clauses. 

167. LAW OF USE. 

The Slur is applied to passages expressing contrast, 
repetition, explanation, modifications of persons, things, 
time, place, cause, manner and degree, and all paren- 
thetical expressions. 

168. Examples : — 

[The Slurred passages are printed in Italic letters 
and should be read more rapidly and with lower pitch 
and less force than the rest.] 

1. The Assyrian came down like a wolf on the fold. 

2. It is a common thing, in speaking of the sea, to 
call it " a waste of waters." 

3. If, like a desert itself, the ocean makes all the 
other wildernesses of the earth to bud and blossom as 
a rose, it ought not to be termed a waste. 

4. That boy was well trained who when asked why 
he did not pocket some pears, for nobody was there to 
see, replied, " Yes, there was somebody; I was there 
to see myself, and I don't intend ever to see myself 
do a dishonest thing." 

5. Bring into subjection while the task is easy, all 
the powers God has given you. 

6.. I see you have trudged half a score of miles to- 
day, and, like a wise man, have passed by the taverns 
and stopped at the running brooks and well-curbs. 

7. As to common things (geography, history, phi- 



EMPHASIS. 193 

losophy, and all that), thank my stars, I have got 
through with them all ! 



169. EMPHASIS. 

1. Emphasis is that peculiar utterance of words, 
phrases and clauses which renders them especially 
prominent or significant. 

2. The importance of Emphasis in determining the 
meaning of a sentence may be inferred from an exami- 
nation of the following sentence, which by placing the 
Emphasis upon the marked words, is capable of ex- 
pressing six different meanings : — 

1. John did not say you bought that book; Henry 
said so. 

2. John did not say you bought that book ; he wrote it. 

3. John did not say you bought that book ; but 
that your sister bought it. 

4. John did not say you bought that book ; but that 
you found it. 

5. John did not say you bought that book ; but this 
book. 

6. John did not say you bought that book; it was 
your slate. 

The following anecdote, related by Sheridan in his 
"Art of Speaking," will illustrate the value of a 
knowledge of the principles of Emphasis to those oc- 
cupying public positions : — 

"A clergyman's curate, having occasion to read in the 
church our Savior's sayings to the disciples, Luke xxiv: 26, 

13 



194 COMMON SCHOOL ELOCUTION. 

" Oh, fools, and slow of heart [that is, backivard] to believe 
all that the prophets have written of me!" placed the em- 
phasis upon the word believe; as if Christ had called them 
fools for believing. Upon the rector's finding fault, when he 
read it next, he placed the emphasis upon all: as if it had 
been foolish in the disciples to believe all. The rector again 
blaming this manner of placing the emphasis, the good 
curate accented the word prophets; as if the prophets had 
been persons in no respect worthy of belief." 

3. Emphasis is effected by a change of Quality, 
Force, Stress, Pitch or Movement, or by a combina- 
tion of two or more of these elements. 

4. Perfect command of every variety of Emphasis 
depends upon an accurate perception of the sentiment 
and its relation to and connection with every other 
thought with which it is associated, and skill in the 
control of all the elements of vocal expression pre- 
viously explained. 

5. The most common method of applying Emphasis 
is by an increase of Force, but that is by no means 
the only method. Pupils should guard against its use 
where it would not be indicated by the sentiment. 
Many instructors teach their pupils that " Emphasis 
is an increase of Force." It is not always an increase 
of Force. The etymology of the word signifies "to 
show," " to indicate ; " and it is observed, even among 
illiterate persons, that special prominence or peculiar 
significance is given to words by other elements than 
Force. In our conversation, while under the influence 
pf natural impulses, we employ such variety of Em- 



EMPHASIS OF QUALITY. 195 

phasis as is appropriate to the thought we express. 
It is in our reading, performed according to the mechan- 
ical and erroneous teachings of our youth, that we lay 
on the force, stroke upon stroke, regardless of the 
nature of the sentiment we are endeavoring to express. 

170. LAW OF USE. 

Emphasis, effected by the use of that Element in- 
dicated by the sentiment, is employed to intensify the 
meaning of important words and phrases, to express 
contrast and in repetition. 

171. EMPHASIS OF QUALITY. 

1. Emphasis of Quality is a change in the utterance 
of certain words from the general Quality of the 
sentiment. 

2. The Quality employed in giving the Emphasis 
depends upon the nature of the peculiar thought that 
occasions the emphasis. The change is usually made 
from the Normal to one, or a combination of several 
of the Abnormal Qualities. 

172. Examples : — 

1. I hate him, for he is a Christian. 

2. Give me liberty or give me death. 

3. I repeat it, sir, the charge is false. 

4. Whence and what art thou, execrable shape? 

5. Quoth the raven, "Nevermore." 

6. Let that plebeian talk; 'tis not my trade. 

7. The guide, turning quickly, cried out, " Hush! " 

8. Or whispering with white lips — " The foe! 
They come ! they come ! ' ' 



196 COMMON SCHOOL ELOCUTION. 

173. EMPHASIS OF FORCE. 

Emphasis of Force is an increase or a decrease of 
force on individual words from that which prevails in 
the sentence. 

174. Examples : — 

1. I said up, not down. 

2. Why do you call him our friend? 

3. Is it so nominated in the bond? 

4. Whence, then, cometh wisdom? 

5. But on the way it burst, it fell ; and lo ! 
A skeleton! (a decrease of force. ) 

175. EMPHASIS OF STRESS. 

Emphasis of Stress is a change in the intensity of 
the prevailing stress, or the substitution of some other 
stress which is appropriate to the thought to be empha- 
sized. 

176. Examples : — 

1. I see I am not cut out to be a good wife. 

2. On what compulsion must I? Tell me that. 

3. It is not so expressed; but what of that? 
9 Twere good you do so much in charity. 

4. Back to thy punishment, false fugitive. 

5. Ah, why should we in the world's riper years, 
Neglect God's ancient sanctuaries? 

6. 'Tis said his arrows never miss ! 
Indeed! I'll take exquisite vengeance. 

7. Ecstasy! My pulse, as yours, doth temperately 
keep time. 



QUESTIONS ON SLUR AND EMPHASIS. 197 

177. EMPHASIS OF PITCH. 

Emphasis of Pitch is an elevation or depression of 
voice on those words that express sudden fright or joy, 
sadness, or dejection. 

178. Examples : — 

1. Then the shout was heard before onr door, 
"Fire! fire! fire!" 

2. It snows! cries the school-boy, "Hurrah!" and 

his shout 
Is ringing through parlor and hall. 

3. Eead on her urn, "A broken heart" 
This tells her tale, (lowering of pitch.) 

179. EMPHASIS OF MOVEMENT. 

Emphasis of Movement is an increase or a decrease in 
the prevailing rate of Movement. 
180. Examples : — 

1. Speak the speech, I pray you, as I pronounced 
it to you, — trippingly on the tongue. 

2. " Cyrus Drew ! " — then a silence fell — 
This time no answer followed the call. 

3. There, on a snow-white couch, 

Lay his two sons, pale, pale, and motionless. 

QUESTIONS ON SLUR AND EMPHASIS. 

1. Define Slur. 2. What is the object of Slur? 3. 
How is this accomplished? 4. What is the Law of 
Use for the Slur? 5. How are slurred passages 



198 COMMON SCHOOL ELOCUTION. 

designated in the example? 6. What is Emphasis? 
7. What illustrations of the importance of Emphasis in 
determining the meaning is given ? 8. How is Emphasis 
effected ? 9. How is perfect command of every variety 
of Emphasis to be secured? 10. What is the most 
common method of applying Emphasis? 11. What 
caution is given regarding this method? 12. What 
definition of Emphasis is erroneously given? 13. 
What is the etymology of the word " emphasis? ,: 
14. What observation is made when illiterate people 
express themselves? 15. When do we employ the 
proper kind of emphasis? 16. Under what circum- 
stances are we disposed to err in the variety of em- 
phasis to be applied? 17. State the Law of Use of 
Emphasis. 18. What is Emphasis of Quality? 19. 
Upon what does the Quality employed depend? 20. 
How are the changes usually made? 21. What is 
Emphasis of Force? 22. Give an example of Em- 
phasis by a decrease of Force. 23. What is Emphasis 
of Stress? 24. What is Emphasis of Pitch? 25. 
Give an example of Emphasis by lowering the pitch. 
26. Define Emphasis of Movement. 



181. PAUSES. 

1. Pauses are temporary suspensions of the voice 
between words, phrases and sentences. 

2. Pauses are used for the purpose of indicating the 
syntactical structure of sentences, thus serving as a 
guide to the author's meaning; or to give intensity, 
vividness, clearness, embellishment, or impressivess to 



PAUSES. 399 

the words between which they occur. The former are 
called Grammatical Pauses, the latter, Rhetorical 
Pauses. 

3. The Grammatical Pauses, as the comma, semi- 
colon, colon and period, although used in determining 
the relative closeness of connection of words with each 
other in thought, have no absolute length of time : a 
period may represent the time occupied in uttering one 
syllable, or it may represent the time of a dozen syl- 
lables, according to the nature of the thought in which 
it is used. The period in " The Isle of Long Ago," 
or " The Closing Year," would require twice or thrice 
the pause required by the same mark m " Sheridan's 
Ride " or the first stanza of " The Bells" 

4. The reader determines the meaning of a passage 
by the grammatical pauses and applies the rhetorical 
pause according to the nature of the sentiment which 
the words express. There will be many more pauses 
than punctuation marks, so that while these should 
be consulted to know the sense of the passage, they 
must not determine or even locate the pauses. In 
the sentence, " No, sir, there is none," any pause be- 
tween "no" and "sir" would be improper, while 
the pause after " sir" is of indefinite length, accord- 
ing to the circumstances attending the utterance of 
the sentence. 

5. Frequent and appropriate pauses are essential to 
good reading and speaking. They rouse and rivet the 
attention by giving a freshness and originality to con- 



200 COMMON SCHOOL ELOCUTION; 

tinued utterance that cannot be secured in any other 
manner. 

6. Definite Rules for pauses cannot be given, for the 
reason that the influence of time, place, and circum- 
stance is so varied that few rules could be made appli- 
cable by the pupil. 

7. The following comprehensive rule will guide the 
intelligent learner in using the proper Pauses. 

182. General Rule. 

Ordinary conversation employed in description, nar- 
ration, and didactic thought require moderate pauses ; 
lively, joyous, and excited emotions, very short pauses ; 
while the language of solemnity, sublimity, grandeur, 
and reflective thought usually demand long, and some- 
times very long pauses. Impassioned discourse re- 
quires long or short pauses, according to the rapidity 
or intensity of the thought. 

183. Examples : Gkaphic Description. 

Short Pauses. 

75. 

[The Sergeant's Story of the Light Brigade.] 

A survivor of the celebrated ride into the jaws of death 
gives in the Boston Commercial Bulletin, the following 
graphic picture of the charge : — 

*' Lord Cardigan's eye glanced us over ; then spurring his 
horse forward a few paces, he said : — 

1 ' ' My men, we have received orders to silence that bat- 
tery?' 



EXAMPLES — PAUSES. 201 

" ' God save us! ' my brother ejaculated. Then grasping 
my hand, he said : — 

" ' Fred, my dear fellow, good-bye ; we don't know what 
may happen. God bless you ; keep close to me — ' 

" What more he might of said was lost in Lord Cardigan's 
ringing shout of — 

'"Charge!' 

" INTO THE JAWS OP DEATH. 

" We went in at a trot ; the trot changed to a canter, and 
the canter into a gallop. Through the lines I could see Lord 
Cardigan several horse-lengths ahead riding as steadily as if 
he was on parade. Now, to tell the plain truth, when we had 
ridden a short distance, say one hundred paces, I felt terri- 
bly afraid. The truth flashed upon me in a moment that we 
were riding into a position that would expose us to a fire on 
both flanks, as well as the fire from the battery in front of 
us, which we had been instructed to silence. I said to my- 
self, * This is a ride to death ! ' but I said it loud enough for 
my brother to hear, and he answered and said : — 

' ' ' There goes the first ! ' 

" The first was Lord Lucan's aid-de-camp, Captain Nolan, 
who, after making a slight detour, was crossing our left to 
join us in the charge. A cannon-ball had just cut him in 
two as my brother spoke. 

" My heart leaped into my mouth and I almost shrieked 
with fear, but I restrained myself, and setting my teeth hard 
I rode on. A moment later the rifle bullets from the sharp- 
shooters on the hillside began to whistle about our ears. 
Saddles were emptied at every step. Then came the whist- 
ling shot and the shrieking shell and tore through our 
squadrons, mangling men and horses, plowing bloody fur- 
rows through and through our ranks. Then my fear left 



202 COMMON SCHOOL ELOCUTION. 

me. My whole soul became filled with a thirst for revenge, 
and I believe the same spirit animated every man in the 
ranks. Their eyes flashed, and they ground their teeth and 
pressed closer together. The very horses caught the mad 
spirit, and plunged forward as if impatient to lead us to our 
revenge and theirs. At this time there was not much to be 
seen. A heavy, dense smoke hung over the valley, but the 
flaming mouths of the guns revealed themselves to our eyes 
at every moment as they belched forth their murderous con- 
tents of shot and shell. 

"Now a shot tore through our ranks, cutting a red line 
from flank to flank, then a shell plowed an oblique and bloody 
furrow from our right front to our left rear ; anon a ricochet- 
ting shot rose over our front ranks, fell into our centre and 
hewed its way to the rear making terrible havoc in its pas- 
sage. Oh ! that was a ride. Horses ran riderless, and men 
bareheaded, and splashed with the blood of their comrades 
pressed closer and closer and ground their teeth harder, and 
mentally swore a deadlier revenge as their numbers grew 
smaller. 

"into the gates op hell. 

"Alone and in front rode Cardigan, still keeping the same 
distance ahead. His charger was headed for the centre of 
the battery. Silently we followed him. Up to this time 
neither my brother nor myself had received the slightest 
scratch, although we were now riding side by side with com- 
rades who at the start were separated from us by several files. 
We reached the battery at last. Up to this time we had rid- 
den in silence, but what a yell burst from us as we plunged 
in among the Russian gunners. Well would it have been for 
them if they had killed us all before we reached them. They 
had done too little and too much. They had set us on fire 



EXAMPLES PAUSES. 203 

with passion. Only blood could quench our thirst for re- 
venge. We passed through the battery like a whirlwind 
sabring the gunners on our passage. I don't believe one of 
them live to tell the tale of that ride. Out of the battery 
and into the brigade — an army it was — of cavalry. Our 
charge was resistless. 

" The Eussians fell before our sabres as corn falls before 
the reaper. They seemed to have no power of resistance. 
And there was no lack of material to work upon. They 
closed in upon us and surrounded us on every side, but we 
hewed our way through them as men hew through a virgin 
forest, and only stopped when we reached the bank of the 
Tehernaya River. 

" Wheeling here, we proceeded to cut our way back again. 
On the return ride I was assailed by a gigantic Russian 
trooper who made a strike at me with his sabre. I partially 
guarded it, but not wholly, and the next moment felt a sting- 
ing pain in my neck. It passed in a moment, however, and 
I was about to make short work of the trooper, when I heard 
my brother cry : — 

" 'Ah! you would, would you? ' and the Russian fell cleft 
to the chin. 

" We cut our way through and once more entered the fatal 
valley. When half way back to our starting point a cannon 
shot struck my brother and beheaded him. ' Tom, ah, thank 
you!' 

8 The color-sergeant drained another glass. 

1 ' When we formed up on arriving at our starting point, 
Lord Cardigan, with the tears streaming from his eyes, said : 

" ' It was not my fault, my men. ' 

' 'And the men replied with one voice : — 

" l We are ready to go in again, my lord, if you will lead 
us.' 



204 COMMON SCHOOL ELOCUTION. 

" Just then I became dizzy. My scalp had been lifted by 
the stroke of the Russian's sabre, the skin of my cheek cleft 
across to my upper lip, and I fainted from loss of blood. 

" When my time expired in the cavalry I re-enlisted in this 
regiment. I am always proud to hear myself called one of 
the six hundred, but — poor Jack! fill that glass again, 
Tom." 

Thus ended the sergeant's story of the famous charge. 

Solemnity. 

Moderate and Long Pauses. 

76. 

[From James G. Blaine's Oration on Garfield.] 

GARFIELD. 

Surely, if happiness can ever come from the honors o r 
triumphs of this world, on that quiet July morning James A. 
Garfield may well have been a happy man. No foreboding 
of evil haunted him; no slightest premonition of danger 
clouded his sky. His terrible fate was upon him in an 
instant. One moment he stood erect, strong, confident in 
the years stretching peacefully out before him. The next he 
lay wounded, bleeding, helpless, doomed to weary weeks of 
torture, to silence, and the grave. 

Great in life, he was surpassingly great in death. For no 
cause, in the very frenzy of wantonness and wickedness, by 
the red hand of murder, he was thrust from the full tide of 
this world's interest, from its hopes, its aspirations, its 
victories, into the visible presence of death — and he did not 
quail. Not alone for the one short moment in which, stunned 
and dazed, he could give up life, hardly aware of its relin- 



EXAMPLES PAUSES. 205 

quishment, but through days of deadly languor, through 
weeks of agony, that was not less agony because silently 
borne, with clear sight and calm courage, he looked into his 
open grave. What blight and ruin met his anguished eyes, 
whose lips may tell — what brilliant, broken plans, what 
baffled, high ambitions, what sundering of strong, warm, 
manhood's friendships, what bitter rendering of sweet 'house- 
hold ties ! Behind him a proud, expectant nation, a great 
host of sustaining friends, a cherished and happy mother, 
wearing the full, rich honors of her early toil and tears ; the 
wife of his youth, whose whole life lay in his ; the little boys 
not yet emerged from childhood's day of frolic; the fair 
young daughter ; the sturdy sons j list springing into closest 
companionship, claiming every day and every day rewarding 
a father's love and care; and in his heart the eager, rejoic- 
ing power to meet all demand. Before him, desolation and 
great darkness ! And his soul was not shaken. His coun- 
trymen were thrilled with instant, profound, and universal 
sympathy. 

Masterful in his mortal weakness, he became the centre of 
a nation's love, enshrined in the prayers of a world. But 
all the love and all the sympathy could not share with him 
his suffering. He trod the wine-press alone. With unfal- 
tering front he faced death. With unfailing tenderness he 
took leave of life. Above the demoniac hiss of the assas- 
sin's bullet he heard the voice of God. With simple resigna- 
tion he bowed to the Divine decree. 

As the end drew near, his early craving for the sea re- 
turned. The stately mansion of power had been to him the 
wearisome hospital of pain, and he begged to be taken from 
its prison walls, from its oppressive, stifling air, from its 
homelessness and hopelessness. Gently, silently, the love 
of a great nation bore the pale sufferer to the longed-for 



206 COMMON SCHOOL ELOCUTION. 

healing of the sea, to live or to die, as God should will, 
within sight of its heaving billows, within sound of its mani- 
fold voices. With wan, fevered face tenderly lifted to the 
cooling breeze, he looked out wistfully upon the ocean's 
changing wonders ; on its fair sails, whitening in the morn- 
ing light ; on its restless waves, rolling shoreward to break 
and die beneath the noonday sun; on the red clouds of 
evening, arching low to the horizon ; on the serene and shin- 
ing pathway of the stars. Let us think that his dying eyes 
read a mystic meaning which only the rapt and parting soul 
may know. Let us believe that in the silence of the reced- 
ing world he heard the great waves breaking on a further 
shore, and felt already upon his wasted brow the breath of 
the eternal morning. 

184. LONG PAUSES. 

For examples of Long Pauses, see following se- 
lections : "Hamlet's Soliloquy," "Break, Break, 
Break," and " Immortality of the Soul " 



185. CADENCE. 

1. Cadence is a gradual elevation of pitch and in- 
crease of force on the third or fourth syllable preced- 
ing the last one of a sentence, followed by a lowering 
of the voice in the discrete or concrete movement two 
or more notes below the prevailing pitch of the senti- 
ment ; as, 

1. Say nothing that you would be ashamed 

, hear 
to 

gain. 



CLIMAX. 207 

■f-pn 

2. One to-day is better than , 

" morrows. 

3. We must wait for the future, and enjoy 
bear 



or 

the 

pres 

4. The true American patriot is ever a 



ent. 

wor- 
ship- 



er. 
186. GENERAL LAW OF USE. 

The intervals through which voice passes in chang- 
ing the pitch from that which prevails in the upward 
and downward slide, will depend upon the character 
of the sentiment ; tranquil thoughts have but slight 
and gradual elevation and depression, while the Ca- 
dence in violent or intense emotions is abrupt and 
sweeps through a greater interval of pitch. 



187. CLIMAX. 

1 . Tb 3 term Climax as used in Elocution is the proper 
management of all the elements of vocal expression, 
so as to render correctly and effectively the thought 
contained in the rhetorical figure known by that name. 

2. A sentence containing a Climax is so arranged 
that each idea rises in importance, force or dignity 
above that which precedes it. The most forcible 
periods that have come to us from ancient orators 
and writers are constructed in this order. The writ- 
ings of Quintilian, Demosthenes and Cicero abound 
in this beautiful figure. 



208 COMMON SCHOOL ELOCUTION. 

3. Sometimes the order of arrangement is reversed, 
when the figure is called Anti-Climax. 

4. The reading of each kind of sentence requires 
the application of the appropriate element indicated 
by the sentiment. The changes in the Climax will 
usually be in the following order : From a Normal to an 
Abnormal Quality, from Moderate to Full Force, from 
Middle to High Pitch, and from a Slow or Moderate to 
a Rapid Movement. The Stress will depend upon the 
prevailing character of the sentiment. In the Anti- 
Climax, the order of changes will be reversed. 

189. Examples : Climax. 

1. "In my affection to my country, you find me ever firm 
and invariable. Not the solemn demand of my per son ; not 
the vengeance of the Amphietyonic Council, which they de- 
nounced against me; not the terror of their threat' enings ; 
not the flattery of their pro mises ; no, nor the fury of those 
accursed wretches, whom they roused like wild beasts aga'inst 
me, could ever tear this affection from my breast'." 

2. If I were an American, as I am an Englishman, 
while a foreign troop remained in my country I never 
would lay down my arms ; no x , never, never, 
NEVER. 

3. And Dou'glas, more, I tell thee here ; 

He're, in thy pitch of pri v de ; 
Here, in thy hold, thy vassals near; 
I tell thee thou'rt defied. 

189. ANTI-CLIMAX. 

1. "What must the king do now, ? Must he submit'? 



ANTI-CLIMAX. 209 

The king shall do, it. Must he be deposed' ? 
The king shall be contended : must he lose 

The name of king'? let it go,. 

I'll give my jew'els for a set of beads, ; 
My gorgeous palace, for a hermitage ; 
• My gay appa'rel, for an alms-man's gown, ; 
My figured go'blets, for a dish of wood, ; 
My sceptre', for a palmer's walking-sta,ff ; 
My su'bjects, for a pair of carved sa,ints ; 
And my large kingdom for a little gra,ve — 
A little, little gra t ve — an obscure grape ! 
Or, I'll be buried in the king's highway, — 
Some way of common trade, where subjects' feet 
May hourly trample on their sovereign's he, ad." 

2. Great men — such as Washington, Adams, Jefferson^ 
Aaron Burr, Arnold, and the friend of my worthy oppo- 
nent. 

3. 'Twas night! the stars were shrouded in a vail of mist ; 
a clouded canopy o'erhung the world ; the vivid lightnings 
flashed and shook their fiery darts upon the earth ; the deep- 
toned thunder rolled along the vaulted sky; the elements 
were in wild commotion ; the storm-spirit howled in the air ; 
the winds whistled ; the hail-stones fell like leaden balls ; the 
huge undulations of the ocean dashed upon the rock-bound 
shore ; and torrents leaped from mountain-tops ; when the 
murderer sprang from his sleepless couch with vengeance on 
his brow, — murder in his heart, — and the fell instrument of 
destruction in his hand. 

The storm increased ; the lightnings flashed with brighter 
glare ; the thunder growled with deeper energy ; the winds 
whistled with a wilder fury ; the confusion of the hour was 
congenial to his soul, and the stormy passions which raged in 



210 COMMON SCHOOL ELOCUTION. 

his bosom. He clenched his weapon with a sterner grasp. 
A demoniac smile gathered on his lip ; he grated his teeth ; 
raised his arm ; sprang with a yell of triumph upon his vic- 
tim ; and relentlessly killed — a Musquito ! 



190. MODULATION. 

1. Modulation is the ready and perfect adaptation 
of the appropriate elements of speech to the sentiment 
designed to be conveyed. 

2. The skillful modulation of the voice requires an 
instantaneous and imperceptible transition from one 
Quality to another, an easy increase or decrease of 
Force, a ready change of Stress, and a perfect com- 
mand of every degree of Pitch and Movement. 

3. The good reader or speaker varies the element of 
expression so skillfully that the hearer gets a sugges- 
tion of the meaning of words by the very nature of 
the sound in which they are uttered. 

4. In impersonation, description and narration much 
of the reader's success depends upon the modula- 
tion of his voice. So proficient have some readers 
become in the control of the vocal elements and of 
their features and limbs,. that an audience can with 
difficulty believe the impersonator, who represents a 
dozen characters in as many minutes, is not really the 
several individuals represented. 

5. The acquisition of this valuable power is but the 
summing up, classification, and adaptation of the va- 
rious " Requisites of a good Elocution ; " and though 
this appears simple, and seems to imply nothing but 



EXAMPLES MODULATION. 211 

time, patience and perseverance, the pupil is assured 
that all these without the application of careful 
thought, will secure only indifferent success. 

191. Examples. — 

The following selection contains a great many va- 
rieties of elements, and its frequent reading and care- 
ful study, to master the sudden transitions, will repay 
the pupil more than the reading of a dozen pages of 
additional suggestions upon modulation. 

192. General Direction. 

Ascertain by a careful reading the sentiment of each 
sentence, and then apply the appropriate element, and 
your reading will be correct. 

Impersonation. 

77. 

["Mrs. McWilliams and the Lightning." — Mark Twain.'] 

Well, sir, — continued Mr. McWilliams, for this was not 
not the beginning of his talk, — the fear of lightning is one 
of the most distressing infirmities a human being can be 
afflicted with. It is mostly confined to women; but now 
and then you find it in a little dog, and sometimes in a man. 

It is a particularly distressing infirmity, for the reason that 
it takes the sand out of a person to an extent which no other 
fear can, and it can't be reasoned with, and neither can it be 
shamed out of a person. 

Well, as I was telling you, I woke up with that smothered 
and unlocatable cry of "Mortimer! Mortimer! " wailing- in 



212 COMMON SCHOOL ELOCUTION. 

my ears ; and as soon as I could scrape rny faculties together 
I reached over in the dark and then said : — 

"Evangeline, is that you calling? What is the matter? 
Where are you ? " 

" Shut up in the boot-closet. You ought to be ashamed 
to lie there and sleep so, and such an awful storm going on." 

" Why, how can one be ashamed when he is asleep? It is 
unreasonable ; a man can't be ashamed when he is asleep, 
Evangeline." 

" You never try, Mortimer — you know very well you 
never try." 

I caught the sound of muffled sobs. 

That sound smote dead the sharp speech that was on my 
lips, and I changed it to — 

"I'm sorry, dear — I'm truly sorry. I never meant to act 
so. Come back and " — 

' ' Mortimer ! ' ' 

" Heavens ! what is the matter, my love? " 
' Do you mean to say you are in that bed yet ! " 
'Why, of course." 

4 ' Come out of it instantly. I should think you would take 
some little care of your life, for my sake and the children's if 
you will not for your own." 

"But my love " — 

" Don't talk to me, Mortimer. You know there is no place 
so dangerous as a bed, in such a thunder-storm as this, — all 
the books say that ; yet there you would lie, and deliberately 
throw away your life, — for goodness knows what, unless for 
the sake of arguing, and " — 

"But, confound it, Evangeline, I'm not in the bed now. 
I'm" — 

[Sentence interrupted by a sudden glare of lightning, fol- 



EXAMPLES MODULATION. 213 

lowed by a terrified little scream from Mrs. McWilliams and 
a tremendous blast of thunder.] 

" There ! you see the result. Oh, Mortimer, how can you 
be so profligate as to swear at such a time as this ? ' ' 

"I didn't swear. And that ivasn't a result of it, anyway. 
It would have come, just the same, if I hadn't said a word ; 
and you know very well, Evangeline, — at least you ought to 
know, — that when the atmosphere is charged with elec- 
tricity"— 

" Oh, yes, now argue it, and argue it, and argue it! — I 
don't see how you can act so, when you know there is not a 
lightning-rod on the place, and your poor wife and children 
are absolutely at the mercy of Providence. What are you 
doing? — lighting a match at such a time as this ! Are you 
stark mad ? ' ' 

4 'Hang it, woman, where' s the harm? The place is as 
dark as the inside of an infidel, and " — 

"Put it out! put it out instantly! Are you determined 
to sacrifice us all! You know there is nothing attracts 
lightning like a light. [Fzt ! — crash ! boom — boloom-boom- 
boom /] Oh, just hear it ! Now you see what you' ve done ! ' ' 

" No, I don't see what I've done. A match may attract 
lightning, for all I know, but it don't cause lightning, — I'll 
go odds on that. And it didn't attract it worth a cent this 
time ; for if that shot was levelled at my match, it was blessed 
poor marksmanship, — about an average of none out of a 
possible million, I should say. Why, at Dollymount, such 
marksmanship as that ' ' — 

"For shame, Mortimer! Here we are standing right in 
the very presence of death, and yet in so solemn a moment 
you are capable of using such language as that. If you 
have no desire to — Mortimer! " 

"Well?" 



214 COMMON SCPIOOL ELOCUTION. 

11 Did you say your prayers to-night? " 

" I — I — meant to, but I got to trying to cipher out how 
much twelve times thirteen is, and " — 

[Fzt! — boom-berroom-boom ! bumble-umble bang — sm^sh!] 

4 ' Oh, we are lost, beyond all help ! How could you neglect 
such a thing at such a time as this? " 

"But it wasn't 'such a time as this.' There wasn't a 
cloud in the sky. How could I know there was going to be 
all this rumpus and pow-wow about a little slip like that ? 
And I don't think it's just fair for you to make so much out 
of it, anyway, seeing it happens so seldom ; I haven't missed 
before since I brought on that earthquake, four years ago." 

"Mortimer! How you talk! Have you forgotten the 
yellow fever ? " 

' ' My dear, you are always throwing up the yellow fever 
to me, and I think it is perfectly unreasonable. You can't 
even send a telegraphic message; as far as Memphis without 
relays, so how is a little devotional slip of mine going to 
carry so far? I'll stand the earthquake, because it was in 
the neighborhood; but I'll be hanged if I'm going to be 
responsible for every blamed ' ' — 

[Fzt ! — boom 6eroom-boom ! boom ! — BANG- ! ] 

" Oh, dear, dear, dear! I know it struck something, Mor- 
timer ; We never shall see the light of another day ; and if it 
will do you any good to remember, when we are gone, that 
your dreadful language — Mortimer! " 

"Well! What now?" 

"Your voice sounds as if — Mortimer, are you actually 
standing in front of that open fire-place ? ' ' 

" That is the very crime I am committing." 

" Get away from it, this moment. You do seem deter- 
mined to bring destruction on us all. Don't you know that 



EXAMPLES — MODULATION. 215 

there is no better conductor of lightning than an open 
chimney? Now where have you got to? " 

"I'm here by the window." 

"Oh, for pity's sake, have you lost your mind? Clear 
out from there, this moment. The very children in arms 
know it is fatal to stand near a window in a thunder-storm. 
Dear, dear, I know I shall never see the light of another 
day! Mortimer?" 

"Yes?" 

" What is that rustling? " 

"It's me." 

"What are you doing? " 

" Trying to find the upper end of my pantaloons." 

"Quick! throw those things away! I do believe you 
would deliberately put on those clothes at such a time as 
this ; yet you know perfectly well that all authorities agree 
that woollen stuffs attract lightning. Oh, dear, dear, it isn't 
sufficient that one's life must be in peril from natural 
causes, but you must do everything you can possibly think 
of to augment the danger. Oh, don't sing! What can you 
be thinking of ? " 

" Now where's the harm in it? " 

" Mortimer, if I have told you once, I have told you a 
hundred times, that singing causes vibrations in the atmo- 
sphere which interrupt the flow of the electric fluid, and — 
What on earth are you opening that door for? " 

" Good gracious, woman, is there any harm in that?" 

" Harm? There's death in it. Anybody that has given 
this subject any attention knows that to create a draught is 
to invite the lightning. You havn't half shut it; shut it 
tight, — and do hurry, or we are all destroyed. Oh, it is an 
awful thing to be shut up with a lunatic at such a time as 
this. Mortimer, what are you doing." 



216 COMMON SCHOOL ELOCUTION. 

" Nothing. Just turning on the water. This room is 
smothering hot and close. I want to bathe my face and 
hands." 

"You have certainly parted with the remnant of your 
mind ! Where lightning strikes any other substance once, 
it strikes water fifty times. Do turn it off. Oh dear, I am 
sure that nothing in this world can save us. It does seem 
to me that — Mortimer, what was that? " 

"It was a — it was a picture. Knocked it down." 

* ' Then you are close to the wall ! I never heard of such 
imprudence! Don't you know that there's no better con- 
ductor for lightning than a wall ? Come away from there ! 
And you came as near as anything to swearing, too. Oh, 
how can you be so desperately wicked, and your family in 
such peril ! Mortimer, did you order a feather bed, as I 
asked you to do ? ' ' 

"No. Forgot it." 

"Forgot it! It may cost you your life. If }^ou had a 
feather bed, now, and could spread it in the middle of the 
room and lie on it, you would be perfectly safe. Come in 
here, — come quick, before you have a chance to commit 
any more frantic indiscretions." 

I tried, but the little closet would not hold us both with 
the door shut, unless we could be content to smother. I 
gasped awhile, then forced my way out. My wife called out : 

"Mortimer, something must be done for your preserva- 
tion. Give me that German book that is on the end of the 
mantle-piece, and a candle ; but don't light it ; give me a 
match ; I will light it in here. That book has some direc- 
tions in it." 

I got the book — at cost of a vase and some other brittle 
things ; and the madam shut herself up with her candle. 
I had a moment's peace ; then she called out: — 



EXAMPLES MODULATION. 217 

" Mortimer, what was that? ' 

" Nothing but the cat." 

"The cat! Oh, destruction! Catch her and shut her up 
in the wash-stand. Do be quick, love ; cats axe full of elec- 
tricity. I just know my hair will turn white with this night's 
awful perils." 

I heard the muffled sobbings again. But for that, I should 
not have moved hand or foot in such a wild enterprise in the 
dark. 

However, I went at my task, -^over chairs, and against 
all sorts of obstructions, all of them hard ones, too, and 
most of them with sharp edges, — and at last I got kitty 
cooped up, at an expense of over four hundred dollars in 
broken furniture and shins. Then these muffled words came 
from the closet : — 

' ' It says the safest 'thing is to stand on a chair in the 
middle of the room, Mortimer ; and the legs of the chair 
must be insulated with non-conductors. That is, you must 
set the legs of the chair in glass tumblers. \_Ftz ! — boom — 
bang ! smash /] Oh, hear that ! Do hurry, Mortimer, before 
you are struck. ' ' 

I managed to find and secure the tumblers. I got the last 
four — broke all the rest. I insulated the chair legs, and 
called for further instructions. 

"Mortimer, it says ' Wahrend eines Gewitters entferne 
man Metalle, wie z. B., Ringe, Uhren, Schhissel, etc., von 
sich und halte sich auch nicht an solchen Stellen auf, wo 
viele Metalle bei einander liegen, ocler mit andern Korpern 
verbunden sind, wie an Herden, Oefen, Eisengittern u. dgl.'. 
What does that mean, Mortimer? Does it mean that you 
must keep metals about you, or keep them away from you ? ' ' 

' ' Well, I hardly know. It appears to be a little mixed. 
All German advice is more or less mixed. However, I 



218 COMMON SCHOOL ELOCUTION. 

think that that sentence is mostly in the dative case, with 
a little genitive and accusative sifted in, here and there, for 
luck ; so I reckon it means that you must keep some metals 
about you." 

"Yes, that must be it. It stands to reason that it is. 
They are in the nature of lightning-rods, you know Put on 
your fireman's helmet, Mortimer ; that is mostly metal." 

I got it and put it on, — a very heavy and clumsy and 
uncomfortable thing on a hot night in a close room. Even 
my night-clress seemed to be more clothing than I strictly 
needed. 

"Mortimer, I think your middle ought to be protected. 
Won't you buckle on your militia sabre, please? " 

I complied. 

1 ; Now, Mortimer, you ought to have some way to protect 
your feet. Do please put on your spurs." 

I did it, — in silence, — and kept my temper as well as I 
could. 

" Mortimer, it says, ' Das Gewitter lauten ist sehr gefahr- 
lich, weil die Glocke selbst, sowie der durch das Lauten 
veranlasste Luftzug und die Hohe des Thurmes den Blitz 
anziehen konnten.' Mortimer, does that mean that it is 
dangerous not to ring the church bells during a thunder- 
storm ? ' ' 

"Yes, it seems to mean that, — if that is the past parti- 
ciple of the nominative case singular, and I reckon it is. 
Yes, I think that it means that on account of the height 
of the church-tower and the absence of Luftzug it would be 
very dangerous {sehr gefahrUch) not to ring the bells in 
time of a storm; and moreover, don't you see, the very 
wording" — 

"Never mind that, Mortimer; don't Waste the precious 
time in talk. Get the large dinner-bell ; it is right there in 



EXAMPLES MODULATION. 219 

the hall. Quick, Mortimer dear ; we are almost safe. Oh, 
dear, I do believe we are going to be saved, at last ! " 

Our little summer establishment stands on the top of a 
high range of hills, overlooking a valley. Several farm 
houses are in the neighborhood, — the nearest some three or 
four hundred yards away. 

When I, mounted on the chair, had been clanging that 
dreadful bell a matter of seven or eight minutes, our shut- 
ters were suddenly torn open from without, and a brilliant 
bull's eye lantern was thrust in at the window, followod by 
a hoarse inQuiry : — 

' ' What in the nation is the matter here ? ' ' 

The window was full of men's heads, and the heads were 
full of eyes that stared wildly at my night-dress and my war- 
like accoutrements. 

I dropped the bell, skipped down from the chair in confu- 
sion, and said : — 

" There is nothing the matter, friends, — only a little dis- 
comfort on account of the thunder-storm. I was trying to 
keep off the lightning. 

" Thunder-storm ? Ligntning? Why, Mr. McWilliams, 
have you lost your mind ? It is a beautiful starlight night ; 
there has been no storm. ' ' 

I looked out, and I was so astonished I could hardly speak 
for awhile. Then I said : — 

"I do not understand this. We distinctly saw the glow 
of the flashes through the curtains and shutters, and heard 
the thunder." 

One after another those people lay down on the ground tcr 
laugh, — and two of them died. One of the survivors re- 
marked : — 

" Pity ycu didn't think to open your blinds and look over 



220 COMMON SCHOOL ELOCUTION. 

to the top of the high hill^yonder. "What you heard was 
cannon ; what you saw was the flash. You see, the tele- 
graph brought some news, just at midnight; our man's 
nominated, — and that's what's the matter? " • 

QUESTIONS ON PAUSES, CADENCE, CLIMAX AND 
MODULATION. 

1. What are Pauses ? 2. For what two purposes are 
pauses used? 3. How are they designated'^ 4. What 
is said of the relative and absolute length of the 
Grammatical Pauses? 5. Illustrate the varying length 
of the period. 6. What use does the reader make of 
the Grammatical Pause? 7. What is said of the 
number of Rhetorical Pauses as compared with the 
punctuation marks? 8. Of what value are frequent 
and appropriate Pauses? 9. Why cannot definite 
rules for Pauses be given? 10. Give the general rule 
for Pauses. 11. Name three selections that require 
Long Pauses. 12. Define Cadence. 13. Give the 
General Law of its Use. 14. What does the term 
Climax as used in Elocution signify? 15. Give the 
definition of Climax and Anti-Climax, as used in 
rhetoric. 16. State the method of reading each. 17. 
What is Modulation? 18. What does the skillful 
Modulation of voice require? 19. What is the effect 
of skillful modulation upon the hearer ? 20. What does 
the acquisition of Modulation comprise ? 21. Give the 
General Direction for applying the appropriate vocal 
elements to reading. 



CONVERSATION. 221 

193. CONVERSATION. 

1 . Conversation is a general and familiar interchange 
of sentiments. 

2. The importance of acquiring fluent, easy, and 
pleasant conversational powers cannot be over-esti- 
mated. We have not during the past fifty years suf- 
ficiently appreciated the value of pure, ready conver- 
sation. It is true, we are a nation of talkers, but talk 
is not conversation ; and the number of really good 
conversers, taking Dr. Johnson and Benjamin Franklin 
as standards, is in our day extremely small. 

3. There are reasons for this. They have been 
observed and deplored. Numbers of socially inclined 
ladies and gentlemen in different communities have 
sought to remedy this growing deficiency by organiz- 
ing " Conversational Clubs," which are conducted in 
various ways, all having in view the improvement of 
what little conversational powers our people have left. 

4. Many teachers of elocution and nearly all insti- 
tutions distinctly oratorical, prescribe a course in 
Conversation, either preliminary to the regular orator- 
ical course, or supplementary to the several grades ; by 
including this valuable accomplishment they thus rec- 
ognize the dependence of the higher forms of oratory 
upon a ready and effective power of transmitting 
thought. 

5. Conversation is an art, and as such, it can be ac- 
quired by almost any one. It includes the selection 
of the most chaste and appropriate words, employed 



222 COMMON SCHOOL ELOCUTION. 

with grace and precision, to express our meaning in 
the most pleasing and effective maimer. 

6. The selection and arrangement of words in sen- 
tences is learned from works on grammar and rhetoric, 
to which the pupil is referred. The Elocutionist deals 
only with the manner of giving expression to those 
sentences. 

7. Here it may be stated that it is not alone the 
construction but also the delivery of the sentence that 
should engage the attention of the learner. The 
sense, of course, must be there in form, but we should 
bear in mind that the sense is often perverted by the 
misapplication of elements of expression ; that what 
is intended to be courteous and genial, may, by employ- 
ing an inappropriate quality, a faulty articulation, or a 
wrong Slide, become positively offensive. 

8. The reader may know at least one person whose 
familiar chats even, it is a privilege to enjoy. Let him 
closely observe such a one in the light of what he has 
learned of Articulation and Vocal Expression, and he 
will be surprised at the wonderfully expressive use of 
all the Elements suited to every utterance. 

194. Directions for Conversation. 

1. Breathe properly. The act of respiration must 
not appear to be a part of the language. 

2. Articulate distinctly. Do not give so much at- 
tention to articulation that your hearers may infer you 
are going through an exercise of vocal gymnastics. 
Practice at the proper time should have rendered at- 



EXERCISES CONVERSATION. 223 

tentiou to your enunciation during conversation unnec- 
essary. 

3. Use a full pure tone, moderate force, radical 
stress, middle pitch and modorate movement. In 
those parts of your conversation requiring peculiar de- 
scription or personation, use the appropriate elements ; 
and in the use of any element, either essential or acci- 
dental, be careful that it is employed effectively. 

195. Exercises. 

In reading the following selections adapt your tones 
to the sentiment. Be natural, that is, read as if you 
were the individual talking — not reading : — 

78. 
["The Inquisitive Man." — Poole.] 

Doubledot. Here comes Mr. Paul Pry! I wish he was 
further. He is one of those idle, meddling fellows, who, 
having no employment, are perpetually interfering in other 
people's affairs. He doesn't scruple to question you about 
your most private concerns. Then he will weary you to 
death with a long story about the loss of a sleeve-button, 
or some such idle matter. But I'll soon get rid of him. 
(Enter Pry.) 

Pry. Ha! how d'ye do, Mr. Doubledot? 

Doub. Very busy, Mr. Pry, and have scarcely time to say 
" Pretty well, thank you." 

Pry. Well, since you're busy, I won't interrupt you; only, 
as I was passing, I thought I might as well drop in. 

Doub. Then you may as well now drop out again. The 
London coach will be in presently, and — • 



224 COMMON SCHOOL ELOCUTION. 

Pry. No passengers by it to-day, for I have been to the 
hill to look for it. 

Doub. Did you expect any one by it, that you were so 
anxions ? 

Pry. No ; but I make it my business to see the coach come 
in every day. I can't bear to be idle. 

Doub. Useful occupation, truly ! 

Pry. I always see it go out. Have done so these ten 
years. 

Doub. (Aside.) Tiresome blockhead ! (Aloud.) Well, 
good-morning to you. 

Pry. Good-morning, Mr. Doubledot. Your house doesn't 
appear to be very full just. now. 

Doub. No, no ; and I wish it wasn't as full as it is. 

Pry. Ha! you are at a heavy rent, eh ? I've often thought 
of that. No supporting such an establishment without a 
deal of custom. If it isn't asking an impertinent question, 
don't you find it rather a hard matter to make both ends meet 
when Christmas comes round? 

Doub. If it isn't asking an impertinent question, what's 
that to you ? 

Pry. Oh, nothing ; only some folks have the luck of it. 
They have just taken in a nobleman's family at the Green 
Dragon. 

Doub. What! What's that? A nobleman at the Green 
Dragon ? 

Pry. Traveling- carriage and four. Three servants on the 
dicky, and an outrider, all in blue liveries. They dine and 
stop all night. A pretty bill there will be to-morrow. 'Tis 
no fault of mine the nabob is not here. 

Doub. Why, what had you to do with it? 

Pry. You know I never forget my friends. I stopped the 
carriage as it was coming down hill, brought it to a dead 






EXERCISES CONVERSATION. 225 

stop, and said that if his lordship — I took him for a lord, at 
first — that if his lordship intended to make any stay, he 
couldn't do better than go to Doubledot's. 

Doub. Well, and what then? 

Pry. Well — would you believe it ? — out pops a saffron- 
colored face from the carriage window, and the owner of it 
says, " You're an impudent rascal for stopping my carriage, 
and I'll not go to Doubledot's if there's another inn to be 
found within ten miles of it ! " 

Doub. There! that comes of your stupid meddling! If 
you hadn't interf erred, I should have stood an equal chance 
with the Green Dragon. What business was it of yours, I 
should like to know ?. 

Pry. I'm very sorry, but I did it for the best. 

Doub. Did it for the best, indeed ! You meddling booby ! 
By your officious attempts to serve, you do more mischief in 
the neighborhood than the exciseman, the apothecary, and 
the attorney all together. 

Pry. Well, there's gratitude! Now, really, I must go. 
Good-morning. ( Goes. ) 

Doub. I'm rid of him at last, thank fortune! (Pry re- 
enters.') Well, aren't you gone? What now? 

Pry. I've dropped one of my gloves. No ! Now, that's 
very odd — here it is in my hand all the time. 

Doub. Oh, get out of my way. 

Pry. Come, that's civil. If I were the least of a bore, 
now, it would be pardonable ; but — Hullo! there's the post- 
man ! I wonder whether the Parkin's have got letters again 
to-day ? They have had letters every day this week, and I 
can't, for the life of me, think what they can be about. 
(Runs off and returns.) Dear me I was going off without 
my umbrella. (Exit Pry. ) 



226 COMMON SCHOOL ELOCUTION. 

Doub. That fellow will be ducked in a horse-pond some 
day if he doesn't look out. 

79. 
[" Scott and his Dogs. " — Irving J] 

After my return from Melrose Abbey, Scott proposed 
a ramble, to show me something of the surrounding country. 
As we sallied forth, every dog in the establishment turned 
out to attend us. There was the old and well-known stag- 
hound, Maida, a noble animal, and a great favorite of 
Scott's, and Hamlet, the black greyhound, a wild, thought- 
less youngster who had not yet arrived at the years of dis- 
cretion ; and Finette, a beautiful setter with soft silken hair, 
long pendant ears and a mild eye, the parlor favorite. 

When in front of the house, we were joined by a super- 
annuated greyhound, who came from the kitchen wagging 
his tail, and was cheered by Scott as an old friend and com- 
rade. In our walks, Scott would frequently pause in con- 
versation to notice his dogs and speak to them as if rational 
companions, and, indeed, there appears to be a vast deal of 
rationality in these faithful attendants on man, derived from 
their close intimacy with him. 

Maida deported himself with a gravity becoming his age 
and size, and seemed to consider himself called upon to pre- 
serve a great degree of dignity and decorum in our society. 
As he jogged along a little distance ahead of us, the young 
dogs would gambol about him, leap on his neck, worry at his 
ears and endeavor to tease him into a frolic. 

The old dog would keep on for a long time with impertur- 
bable solemnity, now and then seeming to rebuke the wan- 
tonness of his young companions. At length he would make 
a sudden turn, seize one of them and tumble him in the 



EXERCISES — CONVERSATION. 227 

dust; then giving a glance at us, as much as to say, " You 
see, gentlemen, I can't help giving way to this nonsense," 
would resume his gravity and jog on as before. Scott 
amused himself with these peculiarities. 

" I make no doubt," said he, " when Maida is alone with 
these young dogs, he throws gravity aside and plays the boy 
as much as any of them ; but he is ashamed to do so in our 
company, and seems to say : ' Have done with your non- 
sense, youngsters ! what will the laird and that other gentle- 
man think of me if I give way to such foolery? ' " 

While we were discussing the humors and peculiarities of 
our canine companions, some object provoked their spleen 
and produced a sharp and petulant barking from the smaller 
fry, but it was some time before Maida was sufficiently 
roused to ramp forward two or three bounds and join in the 
chorus with a deep-mouthed bow-wow ! It was but a tran- 
sient outbreak, and he returned instantly, wagging his tail 
and looking up dubiously in his master's face, uncertain 
whether he would censure or applaud. 

"Ay, ay, old boy," cried Scott, "you have done won- 
ders ; you have shaken the Eildon Hills with your roaring ; 
you may now lay by your artillery for the rest of the day. 
Maida," continued he, " is like the great gun at Constantino- 
ple ; it takes so long to get it ready that the smaller guns 
can fire off a dozen times first, but when it does go off, it 
does great mischief." 

These simple anecdotes may serve to show the delightful 
play of Scott's humors and feelings in private life. His do- 
mestic animals were his friends ; everything about him 
seemed to rejoice in the light of his countenance; the face 
of the humblest dependent brightened at his approach, as if 
he anticipated a cordial and cheering word. 



228 COMMON SCHOOL ELOCUTION. 

80. 
["My Uncle Peter." — George Macdonald.~\ 

I will tell you the story of my Uncle Peter, who was born 
on Christmas daj\ The first remembrance that I have of 
him is his taking me one Christmas eve to the largest to} r - 
shop in London, and telling me to choose any toy whatever 
that I pleased. He little knew the agony of embarrassment 
into which this request of his threw his astonished nephew. 
I wandered about, staring like a distracted ghost at the 
" wealth of Ormus and of Ind " displaj^ed about me.' Uncle 
Peter followed me with perfect patience ; na}^, I believe, with 
a delight that equalled my perplexity, for every now and then, 
when I looked round to him with a silent appeal for sympathy 
in the distressing dilemma into which he had thrown me, I 
found him rubbing his hands and spiritually chuckling over his 
victim. How long I was in making up my mind I cannot tell, 
but as I look back upon this splendor of my childhood, I 
feel as if I must have wandered for weeks through intermina- 
ble f orest-allej^s of toy-bearing trees. 

Uncle Peter was a little round man, and to look at him } T ou 
could not have fancied a face or a figure with less of the 
romantic about them, yet I believe that the whole region of 
his brain was held in fee-simple — whatever that may mean — 
by a race of fairy architects who built aerial castles therein, 
regardless of expense. His imagination was the most distin- 
guishing feature of his character, aud to hear him defend 
any of his extravagances, it would appear that he considered 
himself especially privileged in that respect. "Ah, my 
dear," he would say to my mother, when she expostulated 
with him on making some present far beyond the small means 
he at that time possessed — " ah, my dear, you see I was 



EXERCISES — CONVERSATION . 229 

born on Christmas day." I do not think he had more than 
a hundred pounds a year, and he must have been five and 
thirty, but Uncle Peter lived in constant hope and expecta- 
tion of some unexampled good luck befalling him; " For," 
said he, " I was born on Christmas day." 

He was never married. When people ventured to jest 
with him about being an old bachelor, he used to smile, for 
anything would make him smile, but he never said anything 
on the subject, and not even my mother knew whether he had 
any love-story or not. I have often wondered whether his 
goodness might not have come in part from his having lost 
some one very dear to him, and having his life on earth puri- 
fied by the thoughts of her life in heaven. But I never found 
out. The lucky fortune which Uncle Peter had anticipated 
came at last. A cousin of whom he had heard little for a 
great many years, although they had been warm friends while 
at school together, died in India and left him a large estate. 
But before the legacy was paid to Uncle Peter, he went 
through a good many of the tortures which result from being 
11 a king and no king." At length, after much skirmishing 
with the lawyers, he succeeded in getting a thousand pounds 
on Christmas eve. 

1 ' NOW ! ' ' said Uncle Peter, in enormous capitals. That 
night a thundering knock was heard at our door. We were 
all sitting in our little dining-room — father, mother and 
seven children of us — talking about what we should prepare 
for the next day. The door opened, and in came the most 
grotesque figure you could imagine. It was seven feet high 
at least, without any head, a mere walking tree-stump, as far 
as shape went, only it looked soft. The little ones were 
terrified, but not the big ones of us, for from top to toe (if 
it had a toe) it was covered with toys of every conceivable 
description, fastened on to it somehow or other. It was a 



230 COMMON SCHOOL ELOCUTION. 

perfect treasure-cave of Ali Baba turned inside out. We 
shrieked with delight. The figure stood perfectly still, and 
we gathered round it in a group to have a nearer view of the 
wonder. 

We then discovered that on all the articles there were 
tickets, which we supposed at first to record the price of each. 
But, upon still closer examination, we discovered that every 
one of the tickets had one or other of our names upon it. 
This caused a fresh explosion of joy. Nor was it the chil- 
dren only that were remembered. A little box bore my 
mother's name. When she opened it, we saw a real gold 
watch and chain, and seals and dangles of every sort, of 
useful and useless kind, and my mother's initials were on the 
watch. My father had a silver flute, and to the music of it 
we had such a dance, the strange figure, now considerably 
lighter, joining in it without uttering a word. 

During the dance one of my sisters, a very sharp-eyed 
puss, espied about halfway up the monster two bright eyes 
looking out of a shadowy depth of something like the skirts 
of a great coat. She peeped and peeped, and at length, with 
a perfect scream of exultation, cried.out, " It's Uncle Peter! 
It's Uncle Peter! " The music ceased, the dance was for- 
gotten ; we flew upon him like a pack of hungry wolves ; we 
tore him to the ground, despoiled him of coats and plaids 
and elevating sticks, and discovered the kernel of the bene- 
ficient monster in the person of real Uncle Peter; which, 
after all, was the best present he could have brought us on 
Christmas eve, for we had been very dull for want of him, 
and had been wondering why he did not come. 

QUESTIONS ON CONVERSATION. 

1. Define conversation. 2. What may be said of 
the importance of a pleasant conversational power? 



QUESTIONS ON CONVERSATION". 231 

3. Are we, as a nation, good conversers? 4. Can 
you give any reason for your answer? 5. What ef- 
fort has been made to improve conversation? 6. 
What recognition of the value of conversation is men- 
tioned? 7. What is meant by saying "Conversation 
is an art?" 8. What does it require ? 9. With which 
does the Elocutionist deal? 10. What should engage 
the attention of the learner? 11. How may a prop- 
erly constructed sentence fail to make the intended 
impression? 12. What will the pupil discover by 
observing the conversation of those whose familiar 
chats are agreeable? 13. State the three directions 
given for conversation and the observation accompany- 
ing each. 14. What special hint is given in respect to 
naturalness ? 15. How can a person read as if talking? 



PART IV- 



196. ACTION. 

1. Action includes all those positions and motions 
of the head, face, arms, hands, body and feet em- 
ployed in reading and speaking. 

2. Action accompanies speech for the purpose of 
illustration, by showing manner, means, direction, 
time, place or degree, and to emphasize expressions of 
opinion and emotion. 

3. The power of graceful, natural and suitable 
Action in adding beauty, precision and force to the 
speaker's words is marvellous, and should receive the 
earnest attention of all who aspire to the highest success 
in oratory. 

4. Appropriate Action is most readily learned from 
an accomplished master of the art ; but the student may 
by a careful study of the various moods of nature and the 
corresponding movements by which those moods are 
manifested, attain through frequent practice a cred- 
itable degree of proficiency in this department of 
Elocution. 

5. Following the plan laid down in the preceding 
parts of our subject, we go at once to Nature and en- 

(232) 



ACTION. 233 

deavor to apply her teachings to our expression. Here, 
in the happy warbling of the birds, the gentle waving 
of the leafy branch, and the long undulating swell of 
the peaceful ocean, we behold the unmistakable mani- 
festations of tranquillity and peace. All her motions 
now are gentle, graceful and joyously sublime. But 
Nature does not always wear this peaceful aspect ; 
clouds gather in the heavens, the swift, dark tempest 
sweeps the earth with maddened fury, uprooting trees 
and deluging the land, while the crashing thunderbolts 
strike terror and death in the abodes of man. The 
direct blast of the raging storm and the zigzag and 
forked streaks of lightning are all in keeping with 
the wrathful shrieks that accompany them. Here, 
then, we deduce our principles of vocal and bodily 
expression. 

6. The requisites of Action, as it applies to Elocu- 
tion, are Grace, Variety, Simplicity, Boldness, En- 
ergy, Precision and Propriety, which must all be in 
harmony with the accompanying sentiment in time 
and application. 

7. From the source of Action, we find that as in 
vocal expression, we have certain elements expressive 
of each peculiar thought and emotion ; hence, we have 
Quality, Force, Stress, Pitch and Movement of 
Action. 

8. Action comprises Position, Movement, Ges- 
ture and Facial Expression. 



234 COMMON SCHOOL ELOCUTION. 

197. POSITION. 

The impression made by a reader or speaker as he 
steps upon the platform and takes his position is of 
great importance. If his walk be irregular, halting or 
haughty, and the position assumed be ungraceful and 
betray uneasiness or a want of proper respect for his 
auditors, his performance must contain much merit to 
overcome the prejudice he has already excited in his 
audience. On the other hand, a firm, elastic step, fol- 
lowed by a graceful attitude that occasions no unfavor- 
able impressions, wins commendation at the start; 
and his hearers become sympathetic and approving 
from the beginning. 

198. Positions of the Feet. 

Stand erect with the shoulders well thrown back, 
the chest full and slightly elevated. Support the body 
mainly on one foot, the other lightly touching and 
advanced from three to six inches. The angle formed 
by the feet while in this position, should be a little less 
than a right angle, say eighty degrees. 



POSITION UNEMOTIONAL. 



235 



199. The Four Positions. 

I. Unemotional. 

FIRST POSITION. 

Support the weight of the body on 
the left foot. Advance the right foot 
obliquely at an angle of eighty degrees, 
and in such a position that the right 
heel is from three to six inches in front 
of the hollow of the left foot. 

Fig. 2. 



Fig. I. 





FIRST POSITION. 
SECOND POSITION. 

Support the weight of the body on 
the right foot. Advance the left foot 
obliquely at an angle of eighty degrees, 
and in such a position that the left 
heel is from three to six inches in front 
of the hollow of the right foot. 



SECOND POSITION. 



236 



COMMON SCHOOL ELOCUTION. 



II. Emotional. 

THIRD POSITION. 

From either the first or second 
positions move the right foot ob- 
liquely forward a short step at 
same angle the feet before de- 
scribed. Support the body on 
the right foot and turn the left 
so that the feet form an obtuse 
angle ; raise the left heel slightly, 
and balance the body, which is 
Fig. 4. thrown a lit- 

tle forward , 
with the toe 
of the left 
foot. 



Fig. 3. 





FOURTH POSITION — 
EMOTIONAL. 



THIRD POSITION — 
EMOTIONAL. 
FOURTH POSITION. 

From either the first or second 
positions move the left foot ob- 
liquely forward a short step at 
same angle the feet before de- 
scribed. Support the body on 
the left foot and turn the right so 
that the feet form an obtuse 
angle ; raise the right heel slightly 



237 

and balance the body, which is thrown a little forward, 
with the toe of the right foot. 

200. Changes of Position. 

In the delivery of unemotional thought there should 
be few changes, and all movements should be performed 
within a limited space. In the expression of emo- 
tional thought and heated passion, change of position, 
and greater freedom of movement are permissible ; 
yet even here, the speaker must confine himself within 
the bounds of propriety. The impetuous, headlong, 
and boisterous plunges up and down the platform sug- 
gest not strength and vigorous emotion under the 
control of a powerful reserve force, but ungovernable 
weakness and instability. Never move until the occa- 
sion impels you to do so, and you will not go far 
astray. 

201. Position of the Head. 

The head is presumed to guide the motions of the 
body, and should be so held as to command the respect 
of an audience. Its various positions foreshadow the 
thought before it is expressed. An erect position of 
the head suggests confidence, dignity and honor; 
thrown back, humor, pride or vanity ; inclined for- 
ward, humility and grief; inclined aside, languor; 
while a tossing motion implies contempt and anger. 

202. Expression of the Eyes. 

The eyes are particularly expressive of emotion. 
It is here the mysterious workings and changes of 
mind are imaged forth in unmistakable language. In 



238 COMMON SCHOOL ELOCUTION. 

reading turn your eves from the book to your hearers 
as frequently as possible ; this secures attention and 
often supplies the place of appropriate gesture. In 
speaking or recitation look into the eyes of your audi- 
ence, not at the walls, nor assume that vacant stare 
which masses the people into so many inanimate ob- 
jects. In personation look in the direction of the 
person to whom you are supposed to be speaking, and 
not at the audience. At all times keep your eyes open, 
have a purpose in them, and not an undecided expres- 
sion of uncertainty. 

203. The Arms. 

When not employed in gesture the arms should 
hang gracefully by the sides or one may be placed at 
the waist, as represented in the figures 1 and 2. 

204. Position of the Hands. 

1. The various positions assumed by the hand are 
highly significant, and should be thoughtfully studied. 

2. In repose the hands should be a model of grace ; 
the forefinger should be gently extended, the thumb 
extended and nearly parallel with the first finger; 
the second finger slightly curved, the third curved 
more than the second, and the fourth, or little finger, 
forming a semi-circle. Study the attitudes of statuary 
and adapt your positions to those models that are re- 
garded as specimens of the highest art. 

3. The hand is said to be supine when open, fingers 
relaxed and palm upward, indicating entreaty, appeal, 
light, joyous emotions, and general description. 






POSITION DIRECTION OF MOVEMENT. 239 

4. It is prone when open, fingers extended and 
palm downward ; used in denial, degradation and con- 
cealment. 

5. It is vertical when open, fingers extended and 
palm outward ; used in repelling, disgust, abhorence 
and warding off. 

6. It is clenched when tightly closed ; used in anger, 
defiance, and threatening. 

7. It is pointing when loosely closed, forefinger and 
thumb uppermost and extended ; used in pointing and 
designating. 

205. Direction of Movement. 

Before attempting any of the following exercises in 
gesture with the hands, the pupil should become 
familiar with the various terms used in indicating 
direction. 

1. Front. Gestures made directly before the body 
are termed " front." 

2. Extended. Gestures made direct from the 
speaker's side are termed " extended." 

3. Oblique. Gestures made between the front and 
extended are called " oblique." 

4. Backward. Gestures back of the extended are 
called " backward." 

5. Descending. Gestures made below the horizon- 
tal line of the chest are called " descending." 

6. Horizontal. Gestures made by extending the 
band and arm in aline horizontal to the chest (whether 



240 COMMON SCHOOL ELOCUTION. 

front, oblique, or the side or backward) are called 
*' horizontal." 

7. Ascending. Gestures made above the horizon- 
tal are termed " ascending." 

8. Climax of Gesture. Gestures reach their cli- 
max on the accented syllable of the word with which 
they are used. 

206. Both Hands 

Are often used, making the same motions, to give 
greater breadth of thought, broader expanse, and more 
intensity of emotion. 

207. Arm Motions. 

To secure facility and grace of gesture, a short pre- 
liminary exercise, employing both arms simultane- 
ously, is of great advantage. Every exercise in 
gesture should be preceded by several whole-arm- 
movement combinations, which will be suggested after 
the following description of an exercise the author has 
used most advantageously with young children. 

208. Direction for Arm Movement. 

Take the first position, slightly elevate the chest, 
and force the shoulders well back. Let the arms and 
hands hang naturally, the little fingers just touching 
the sides. Raise both the arms, bringing the hands 
towards each other in front, near the body and slightly 
turning them so that the forefingers just touch by the 
time the hands meet at the waist ; continue raising the 
hands, fingers relaxed and slightly curved, palms 



MODE OF GESTURE. 241 

gradually turning inward, until the chin is reached, 
when the fingers gradually extend. From this point 
the hands separate, the whole arms sweep through a 
Graceful curve downward and outward through the 
horizontal, oblique, and extended directions, the palms 
at first upward, gradually turn inward, then down- 
ward, when the arms curve and the hands are brought 
again together at the waist as when raised from the 
sides in the ' initial motion. This movement is to be 
repeated many times until familiar, after which others 
can be developed from it, which will all be of great 
service in imparting ease and grace to gesture. 

209. Mode of Gesture. 

1. The grace of gesture is expressed in the com- 
pound curve, sometimes called "Hogarth's line of 
beauty." The motion of the arm originates in the 
shoulder, is then transmitted to the arm, whence the 
hand and the fingers receive the impulse and both 
gradually curving as the arm is raised until the chest 
(on the side opposite the arm employed) is reached, 
when the arm, hands, and fingers unbend, and reach 
their full extension at the climax. 

2. The curve of arm gesture, expressive of pleasing, 
tranquil and serious thought, and employed in narra- 
tion, description and argument, is beautifully illus- 
trated in the varied motions that may be described 
with a flexible willow-twig. 

3. The direction of motion in the gesture of violent 
passion and uncontrollable excitement, whether occa- 



242 COMMON SCHOOL ELOCUTION. 

sioned by fright or joy, is best illustrated in the angu- 
lar flash of the falling thunderbolt. 

4. From these illustrations- the learner will readily 
infer the character of gesture required when he has 
determined the sentiment contained in the composi- 
tion. 

5. The following examples, which have appeared in 
Randall's Elocution, Potter's Manual of Reading, The 
New York Speaker, and many other elocutionary 
works, are now so generally used, and serve so well to 
illustrate a great variety of gesture, that their introduc- 
tion is preferred to others used by the author. 

210. Explanation of Abbreviations. 

Td. f. Descending Front. fD. e. Descending Extended. 

i H. f . Horizontal Front. j H. e. Horizontal Extended. 

[A. f. Ascending Front. [A. e. Ascending Extended. 

{D. o. Descending Oblique. fD.b. Descending Behind. 

H. o. Horizontal Oblique. J H. b. Horizontal Behind. 

A. o. Ascending Oblique. I A. b. Ascending Behind. 

Note. — The dots placed beneath words show where to raise the 
hand in preparation. The words in capitals mark the climax, while 
the hand drops on the syllable in Italics. 

211. Exercises in Gesture. 

I. Right Hand Supine. 

D.f. This sentiment I will maintain | with the last 

breath of life. 

H. f. I appeal | to you, sir, for your de cis ion. 



EXERCISES IN GESTURE — RIGHT HAND PRONE. 24B 

A. f. I appeal | to the great Searcher of hearts for 

the truth of what I ut ter. 

D. o. Of all mistakes | none are so fa tal as those 



which we incur through prejudice. 

H. o. Truth, honor, | justice were his mo rive's. 

A. o. Fix your eye | on the prize of a truly no ble 



am hi tion. 

D. e. Away I with an idea so absurd ! 



H, e. The breeze of morning | wafted in cense on the 



air. 



A. e.. In dreams thro' camp and court he bore | the 

trophies of a con queror. 

D. b. Away | with an idea so abhorrent to humanity ! 

H. b . Search the records of the remotest an ti quity 

for a, par all el to this. 

A. b. Then rang their proud hurrah ! 



II. Eight Hand Prone. 
D. f. Put down | the unworthy feeling ! 

H.f. Ke strain the unhallowed ^xo pen sity. 



244 COMMON SCHOOL ELOCUTION. 

D. o. Let every one who would merit the Christian 

name | re press | such a feeling. 
• . . 

H. o. I charge you as men and as Christians | to lay 

a re straint on all such dispo si tions ! 

A. o. Ye gods | with hold your ven geance ! 

D. e. The hand of affection | shall smooth the turf 

for your last pil low ! 

H. e. The cloud of adver | sity threw its gloom over 

all his pros pects. 

A. e. So darkly glooms yon thunder cloud that 

swathes | as with a purple shroud Benledi's distant 

hill. 

III. Eight Hand Vertical. 

H.f. Arise ! meet | and re pel your foe! 

A./. For bid it, Almighty God! 

H. o. He generously extended the arm of power | to 

ward off the blow. 

A. o. May Heaven a vert the cal am ity ! 

H. e. Out of my sight, | thou serpent ! 



MODE OF GESTURE — BOTH HANDS PRONE. 245 

H. b. Thou tempting fiend, a vaunt ! 



IV. Both Hands Supine. 

D. f. All personal feeling he de pos ited on the al 
tar of his country's good. • • • 

H.f. Listen, I im plore you, to the voice of rea 

son ! 

A. f. Hail ! universal Lord. 

D. o. Every personal advantage | he sur ren dered 



to the common good. 

H. o. Welcome ! once more to your early home! 

A. o. Hail! holy Light! 

D. e. I utterly re nounce | all the supposed ad van 

tages of such a station. 

H. e. They yet slept | in the wide a byss of possi 



bil ity. 

A, e. Joy, joy | for ever. 



V. Both Hands Prone. 
D.f. Lie light ly on him, earth — his step was 
light on thee. 



246 COMMON SCHOOL ELOCUTION. 

H.f. Now all the blessings of a glad father light on 



thee! 

A.f. Blessed be Thy name O Lord Most High. 

D. o. We are in Thy sight | but as the worms of the 

dust ! 

H. o. May the grace of God | abide with you for 



EVER. 

A. o. And let the triple rainbow rest | o'er all the 



mountain tops. 

D. e. Here let the tumults of passion | forever 



CEASE ! 

H. e. Spread wide a round the heaven-breathing 

calm ! 

A, e. Heaven | opened wide her ever during gates. 



VI. Both Hands Vertical. 
H.f Hence hideous specter/ 

A. f Avert O God, the frown of thy indignation ! 



H. o. Far from our hearts be so inhuman a feeling. 



GENERAL HINTS UPON GESTURE. 247 

A. o. Let me not | name it to you ye chaste stars ! 
H. e. And if the night have gathered aught of evil 
or concealed dis perse it. 

A. e. Melt and dis pel, ye specter doubts! 

212. General Hints Upon Gesture. 

1. " Suit the action to the word, and the word to 
the action ; with this special observance — that you 
o'erstep not the modesty of Nature.'' 

2. Be definite and decided in your action. Decision 
of gesture is more important than grace ; — combine 
the two. 

3. In shifting from one foot to the other avoid drop- 
ping one shoulder. 

4. Though appropriate gesture is pleasing to the eye 
and greatly assists the hearer in comprehending the 
thought, the pupil is reminded that too little gesture 
is better than a continuous or even frequent sawing 
of the air. 

5. During the action of gesture the arm should be 
kept moving all the time — rarely stationary for a 
single instant. 

6. When reading attempt no gesture unless you can 
look from your book and follow the gesture with your 
eyes. 

7. The climax of the gesture should be on the em- 
phatic word, and the hand performing the gesture 



248 COMMON SCHOOL ELOCUTION. 

should return to the side or proceed with another 
gesture. 

8. Keep your face either full or three quarters full 
toward your audience, unless personation should re- 
quire it otherwise. 

9. In personating two characters have one speak to 
the right the other to the left. Explanations require 
a full face to the audience. 

10. Use curved lines in gesture in all cases except 
those portraying sudden and impassioned Emotions. 

11. As a general rule in single gestures, use the 
right arm, with the right foot advanced, in preference 
to the left. The left, however, is often conveniently 
used in the mimicry of awkward characters. 

12. Do not permit the love of dress display to mar the 
effect of your delivery by making you ridiculous. 
Taste in dress is little less important than appropriate 
language and delivery. 

13. Let your changes in gesture accord with the 
language. The more rapid the thought and violent 
the emotion, the more sudden the transitions. Calm, 
dignified and reflective thought requires slow, meas- 
ured, graceful changes. 

14. Observe the attitudes and gestures of great ora- 
tors and actors, 

15. In sitting on a chair on the platform or else- 
where in the presence of company, keep erect and 
avoid crossing the limbs or tilting back your chair. 
Personal comfort may justify such abandon in your 
private room, but not in the presence of company. 



FACIAL EXPRESSION. 249 

213. FACIAL EXPRESSION. 

1. Facial Expression is the adaptation oi the coun- 
tenance to the thought to be expressed. 

2. Of the face Quintilian has said : " The face is the 
dominant power of expression. With this we suppli- 
cate ; with this we threaten ; with this we soothe ; 
with this we mourn ; with this we rejoice ; with this 
we triumph ; with this we make our submissions ; 
upon this the audience hang ; upon this they keep 
their eyes fixed ; this they examine and study even 
before a word is spoken." 

3. Facial Expression in its various phases, influenced 
by the constantly changing impulses of that mysterious 
agent we call mind, is a science of such wonderful pos- 
sibilities, that an extended treatment of the subject in 
an elementary text-book, is impracticable. It is suffi- 
cient to say that every sentiment and emotion has its 
peculiar facial expression, subject to time, place and 
circumstance. 

4. The effect of vocal delivery is so much height- 
ened by a sympathetic expression of face, that the 
student of Elocution, whether preparing for the ros- 
trum, bar, or pulpit, should on no account neglect the 
adaptation of his countenance to the sentiment. 

5. "It is said of Whitfield, the Prince of Pulpit 
Orators, that his face was like a canvas, and upon it 
he painted every passion that stirs the human breast. 
It was at one moment terrific as if all the furies were 
enthroned on that dark brow ; and next, as by a dis- 



250 COMMON SCHOOL ELOCUTION. 

solving view, there would come forth an angelic sweet- 
ness that savored of heaven.' ' 

6. The eye is the most expressive of all the fea- 
tures. From it the soul looks forth, and communes 
with kindred spirits. Through it the workings of the 
mind are made manifest before the tonsrue moves in 
obedience to the will. The expectant child reads in 
the mother's eye the answer to his wish. " Even the 
animals are susceptible to its power. The dog watches 
the eye of his master, and discovers from it, before a 
word is spoken, whether he is to expect a carress or 
apprehend chastisement. The lion cannot attack a 
man so long as the man looks him steadily in the 
eye." 

214. General Principles of Facial Expression. 

The Brows. 

1. An unruffled brow denotes tranquil thought. 

2. A contracted brow portrays anger, hatred, de- 
fiance. 

3. An elevated brow expresses wonder, admiration, 
terror, joy. 

The Mouth. 

1. An open mouth shows surprise, wonder, admira- 
tion, fear, desire, mirth, love, silliness. 

2. The mouth closes lightly in repose and peaceful 
thought. 

3. A tightly compressed mouth shows firmness, per- 
plexity, scorn. 






SENTIMENTS, EMOTIONS AND PASSIONS. 251 

4. A drawing down of the corners of the mouth ex- 
presses scorn, contempt, pride. 

5. A pouting mouth shows petulance, impatience. 

6. The mouth smiles in approval, satisfaction, hap- 
piness. 

THE EYES. 

1. The eyes are raised in joy, hope, admiration. 

2. They are cast down in shame, modesty, grief, 
disappointment. 

3. They look forward in determination. 

4. They are turned away in disgust, listening. 

5. They roll in rage, despair. 

6. They are opened wide and fixed in consternation. 

7. They flash in sudden anger. 

THE NOSE. 

1. The nose is elevated in scorn. 

2. It is expanded in sudden anger. 

3. It is wrinkled in mirth. 

4. The nostrils are contracted in pain, fear. 



215. SENTIMENTS, EMOTIONS AND PAS- 
SIONS. 

1. The following list contains the greater number of 
those sentiments, emotions and passions which have 
received a philosophical analysis. 

2. It has been shown throughout this work that the 
effective rendition of each depends upon the perfect 
control and application of an appropriate vocal ele- 



252 



COMMON SCHOOL ELOCUTION. 



ment, accompanied by suitable gesture and facial ex- 
pression. 

3. The list is arranged alphabetically for conven- 
ience of reference, and is not classified, for the reason 
that the exercise of classification being left for the 
pupil, will ensure a most searching examination, and a 
better view of preceding principles than any other 
which could be suggested by the author. 

216. Directions for Conducting the Exercise. 

1. First, the pupil will define the sentiment, emotion 
or passion. Second, he will state the appropriate 
Quality, Force, Stress, Pitch and Movement re- 
quired in its delivery. 

2. The exercises should occupy several days. The 
work should be placed on the blackboard after the fol- 



lowing : 



MODEL. 



EXAMPLE. 

Commendation, a 
sentiment — A dec- 
laration of esteem. 

Amazement, an) 
emotion —Extreme > 
wonder, confusion. ) 

Rage, a passion — ) 
Anger excited to > 
fury. ) 



Move- 
Quality. Force. Stress. Pitch. ment. Gesture. 



Pure 
Tone. 

Asp. or 
Pecto- 
ral. 

Guttural 



Moder- 
ate 

Mod. 
or Sub- 
dued. 

Pull. 



Radical. 
Radical. 
Final. 



Middle. 

High. 

High. 



Moder- 
ate 

Rapid. 
Rapid 



Curved. 



Angu- 
lar. 

Angu- 
lar 



Note. — Sometimes two or more elements may be indicated, 
from having simply the word without an example ; as the appropri- 
ate Quality of Amazement in the model. The character of gesture 
may be represented by the terms Curved and Angular. The teacher 
may extend this exercise so as to include the appropriate Facial 
Expression. 



acquitting 
admiration 



admonition 
adoration 



SENTIMENTS, EMOTIONS AND PASSIONS. 



253 



affectation 

affection 

affirming 

agreeing 

amazement 

anger 

anxiety 

arguing 

authority 

aversion 

awe 

boasting 

cheerfulness 

commanding 

commendation 

commiseration 

complaining 

condemning 

confidence 

contempt 

contentment 

courage 

curiosity 

death 

defiance 

delight 

denying 

derision 

desire 

despair 



differing 

dismissing 

distraction 

dotage 

dread 

enthusiasm 

envy 

exhortation 

exultation 

fainting 

fatigue 

folly 

forbidding 

friendship 

fury 

gayety 



gladness 

gloom 

grandeur 

granting 

gratitude 

gravity 

grief 

hatred 

hope 

humor 

inquiry 

intoxication 

irresolution 



254 



COMMON SCHOOL ELOCUTION, 



joy 


reproving 


judging 


revenge 


laughter 


reverence 


love 


ridicule 


madness 


sadness 


majesty 


settled despair 


malice 


scorn 


melancholy 


shame 


mirth 


sickness 


modesty 


sloth 


pardoning 


sneering 


pathos 


solemnity 


perplexity 


sorrow- 


persuading 


splendor 


peevishness 


sublimity 


pity 


submission 


power 


surprise 


pride 


suspicion 


promising 


teaching 


rage 


tempting 


raillery 


terror 


refusing 


tranquillity 


remorse 


transport 


reproach 


triumph 


repose 


vastness 


respect 


welcome 



wonder 



QUESTIONS ON ACTION. 

1. What does Action include? 2. Why does Action 
accompany speech? 3. What may be said of its in- 






QUESTIONS ON ACTION. 255 

fluence in adding effect to the speaker's words? 4. 
What attention should it receive? 5. How is ap^ 
propriate Action most readily learned? 6. How can 
the student acquire it without this aid ? 7. Where do we 
go for our principles of Action ? 8. Describe the dif- 
ferent aspects of Nature under which the two classes 
of action are manifested. 9. Could we, with any pro- 
priety, designate one class as Normal and the other 
Abnormal ? 10. What are the requisites of Action as it 
applies to Elocution ? 11. How must these be applied ? 
12. What terms used in Vocal Expression may be ap- 
plied to Action? 13. Of what importance is the 
speaker's position as he steps upon the platform? 14. 
What is said of the impressions made by his walk? 
15. State the required position for a speaker or 
reader. 16. Correctly describe the four positions 
of the feet. 17. Why are these positions designated 
Unemotional and Emotional? 18. What caution is 
given regarding change of position? 19. Give the 
position required for the head. 20. What is suggested 
by the various positions of the head? 21. What do 
the eyes express? 22. What direction is given for the 
management of the eyes while reading? 23. Give the 
directions for the eyes while reading or reciting. 24. 
What does a " vacant stare" indicate? 25. How 
should the arms be kept when not in action? 26. 
Describe the position of the hand in repose. 27. 
Where is the learner directed for examples of graceful 
models? 28. Explain the various positions of the 
hand indicated by the terms "supine," "prone," 



256 COMMON SCHOOL ELOCUTION. 

"vertical," "clenched," "pointing." 29. What is 
meant by the following terms of hand movement : 
" front," "extended," " oblique," " backward," " de- 
scending," " horizontal," " ascending," " climax of 
gesture?" 30. When are both hands employed in 
gesture? 31. What will give facility in gesture? 
32. Execute the double-arm movement described as 
a preliminary exercise. 33. In what is the grace of 
gesture expressed? 34. Explain this curve as applied 
to the arms and hands. 35. How may the gesture 
of tranquil and earnest thought be illustrated? 36. 
In what is the gesture of violent passion illustrated? 
37. When can the learner determine the character of 
gesture required ? 

38. To what should the action be suited? 39. 
What is said of the importance of decision of ges- 
ture? 40. What caution regarding changing from one 
foot to the other is given? 41. What of too much 
gesture? 42. How should the arm be kept during the 
action of gesture? 43. Where is the climax of ges- 
ture? 44. How should the face be kept? 45. How 
are two characters personated? 46. Which arm is 
preferred in gesture? 47. When may the other be 
used? 48. What caution regarding dress is given? 
49. How should changes of gesture be effected? 50. 
What direction is given with reference to sitting in 
your chair? 51. What is Facial Expression? 52. 
Why is not the subject of facial expression more fully 
treated in this book? 53. What is said of Whitfield's 



QUESTIONS ON ACTION. 257 

wonderful power of facial expression? 54. What is 
said of the power of the eyes in giving expression to 
the face ? 55 . What is shown by an unruffled brow ? 
a contracted brow? an elevated brow? 56. Explain 
the meaning of the following conditions of the mouth : 
" open," "closed lightly," "tightly compressed," 
"drawn down," "pouting," "smiling?" 57. 
What is indicated by the following expressions of the 
eyes : " raised," " cast down," " forward," " turned 
away," " rolling," " open wide," " flashing? " 58. 
When is the nose " elevated? " " expanded? " "wrin- 
kled?" 59. When are the nostrils "contracted?" 
GO. Upon what have we, thus far, seen that the effec- 
tive rendition of every sentiment and emotion depends ? 



PART V. 



217. GROUPING. 

1. Grouping is the skilful arrangement of words, 
phrases and sentences, with regard to the elements 
employed in their delivery, into such groups as shall 
render their meaning clear, pleasing and impressive. 

2. Effective grouping implies in addition to a knowl- 
edge and complete control of all the elements employed 
in vocal expression, a cultivated taste, good judgment 
and a clear perception of an author's meaning. Here 
we have the application of the whole art embraced in 
logic, rhetoric and elocution ; for the process involves 
the science of thought, the laws of composition, and 
the art of vocal delivery. 

3. It is grouping that distinguishes the forcible and 
captivating oration from the noisy harangue, — the 
soul-stirring rendition of a dramatic composition from 
the school-boy's drawling declamation. It is by judi- 
cious grouping that the perfect orator brings the image 
before our eyes, awakens the thrill in our hearts, and 
fires our souls with the loftiest emotions that animate 
our race. 

4. No part of our subject requires such an extended 
(258) 



GROUPING PAUSES. 259 

literary knowledge, good judgment, keen perception, 
delicate taste, and above all, such a perfect understand- 
ing of the human mind, as the appropriate grouping of 
speech. For this reason, definite instruction, compre- 
hending the multitude of forms occurring in language 
is most difficult. 

5. To aid the learner in the analysis of thought and 
grouping of words for delivery, an example will be 
given of a method the author has employed with great 
advantage. The pupil is reminded that other group- 
ings of the sentence might be given which would be 
equally effective. 

6. The student's success in this department of elo- 
cution depends so much upon the management of 
pauses, that a few of the more important rules govern- 
ing the suspension of the voice will be given, with the 
suggestion that the length of the pause depends, en- 
tirely upon the sentiment, the speaker and the circum- 
stance. 

218. GROUPING PAUSES. 

I. Pause Before. 

1. The infinitive phrase; as, It is well | to know 
our duty. 

2. Prepositional phrases ; as, It is prudent | in 
every man to provide against future want. 

3. Adjectives following their nouns ; as, Once upon 
a midnjght | dreary. 



260 COMMON SCHOOL ELOCUTION. 

4. Relative Pronouns ; as, He must have brains in 
his heels, | who has them not in his head. 

5. Conjunctions ; as, There is a mourner, | and her 
heart is broken. 

6. An Ellipsis ; as, Character | once lost is regained 
slowly. 

II. Pause Aftee. 

1. The Nominative phrase; as, Every good and 
perfect gift | cometh from God. 

2. The objective phrase in an inverted sentence ; 
as, My happy, peaceful youth | restore to me. 

3. Emphatic words ; as, But most | b'y numbers 
judge the poet's song. 

4. Words in apposition ; as, Peter, the hermit, | in- 
cited the people of Europe to a holy warfare. 

5. Each member of a sentence ; as, You're in the 
old way, | and I'm in the new; | That is the false, | 
and this is the true. 

To these rules many others might be added, but they 
are subject to so many exceptions and modifications 
that it is thought best to include them under one 

219. General Rule for Grouping. 

Group by a pause every collection of words that 
marks any break or change of thought. 

220. Examples of Grouping. 

The pupil will carefully examine the following par- 
agraph as presented for reading, and study the analy- 
sis following. 



EXAMPLES — GROUPING. 261 

We go, next, | to the schools | for children. | It 
ought | to be a leading object, | in these schools, | to 
teach the art of reading. | It ought to occupy j three- 
fold more time | than it does. | The teachers | of these 
schools | should labor | to improve | themselves. \ 
They should feel, — that | to them, | for a time, | are 
committed | the future orators | of the hVnd. 

The above extract requires in a great part the fol- 
lowing elements ; Pure Tone, # Moderate Force, Kadi- 
cal Stress, Middle Pitch and Moderate Movement. 

A critical analysis, such as every selection should 
receive before being read in public, will show how 
these elements are modified by slight changes of 
thought and earnestness. 

We go next — These three words form the first pause 
group, and should be read with the elements 
named above with no special intensity, except on 
the word " next," which, containing an anticipa- 
tion of something to be expressed in the suc- 
ceeding group, receives a slight increase of force 
and a perceptible elevation of pitch. 
to the schools — The second group will require an in- 
crease of force on "schools," because that word, 
used in connection with what precedes, implies 
contrast with some other place. The downward 
slide is required because the statement is positive. 

f° r chil- 
dren. — Reduce the force, lower the pitch, in- 
crease the movement and mark the cadence. 



262 COMMON SCHOOL ELOCUTION. 

It ought — Pause before the infinitive, slight increase 
of force, and elevation of pitch. Radical stress 
strongly marked on " ought." 

to be a leading object — A gradual increase of force 
and elevation of pitch. The whole group requires 
increase in Movement. The word "object" re- 
ceives slight emphasis from its importance — em- 
phasis of force. 

in these schools — Parenthetical, and requires the Slur. 
Increase of movement and slight lowering of 
pitch. Slight increase of force on " schools." 

to teach the art of reading. — The prepositional phrase 
usually forms a group, but the importance of 
"reading" hurries the voice forward and joins 
the group closely to the infinitive phrase. The 
force is gradually increased to the close ; when 
"reading" is uttered with so much earnestness 
as to partake slightly of the Orotund. 

It ought to occupy — The intensity of the succeeding 
group throws what ordinarily forms a separate 
group (infinitive phrase) into the preceding. 
The elements remain the same with a slight in- 
crease of earnestness. 

threefold more time — Here is an entire group of em- 
phatic words, and it requires a deeper tone, ap- 
proaching the Orotund, an increase of force, a 
lowering of pitch, and a slight Thorough Stress, 
Slower Movement. The Quantity is long on each 
word. 

than it does. — Less force, increase of movement. 
Radical Stress. Slight Cadence. 



EXAMPLES GROUPING . 263 

The teacher — The subject or subject phrase form 
a group to give the mind time to dwell upon the 
identity of the individual. Increase the force. 
A decided Radical Stress. Slight elevation of 
pitch. 

of these schools — Slur. Diminish force and stress, in- 
crease the movement and lower the pitch. 

should labor — A duty. Earnestness. Increase of 
force, and a marked Radical Stress on the first 
syllable "of "labor." 

to improve — The emphasis applied to the succeeding 
word makes this group almost expressionless, 
but it is the expectancy contained in the phrase 
that requires the grouping and gives it effective- 
ness. To bring out the full force of the next 
word, there must be a slight lowering of pitch and 
decrease of force. 

themselves. — Marked increase of force, deeper tone. 
Final Stress and longer quantity. 

They should feel — No marked change of prevailing 
elements except a deeper tone than is commonly 
included in the Pure Tone. A slight suspension 
is marked in the word, "feel." 

that — A slight pause is here required to give the mind 
time to prepare for the statement following 
"That" is uttered with a moderate increase of 
force and elevation of pitch. 

to them — Increase the force and utter " them " with 
a slight Final Stress. 

for a time, — Parenthetical. Slur. Lower the pitch 
and increase the movement. 



264 COMMON SCHOOL ELOCUTION. 

are committed — The importance of the succeeding 
statement justifies this group. There is a marked 
earnestness and elevation of thought contained in 
this group ; hence, a tendency toward the Oro- 
tund, an increase of force, a change of stress to 
the Thorough. 

the future orators — The grandeur of thought contained 
in this and the succeeding group gives them a de- 
cided Orotund, a fair degree of Moderate Force 
and a tendency toward the Thorough Stress. 

°f the 

land — The closing of the sentence requires a 

lowering of pitch, a return to the prevailing force, 

and a pleasing cadence. 

221. Exercises in Grouping. 

The pupils are expected to group and analyze the 

following selection according to the two preceding 

models. Each pupil of the class should be assigned 

no more than one stanza during any exercise. 

No Sects In Heaven. 

[Mrs. E. H. J. Cleveland.] 

Talking of sects till late one eve, 
Of the various doctrines the saints believe, 
That night I stood, in a troubled dream, 
By the side of a darkly flowing stream. 

And a " Churchman " down to the river he came ; 
When I heard a strange voice call his name, 
" Good Father, stop ; when vou cross this tide, 
You must leave your robes on the other side." 



EXERCISES IN GROUPING. 265 

But the aged father did not mind ; 
And his long gown floated out behind, 
As down to the stream his way he took, 
His pale hands clasping a gilt-edged book. 

"I'm bound for heaven ; and when I'm there, 
I Shall want my Book of Common Prayer ; 
And, though I put on a starry crown, 
I should feel quite lost without my gown." 

Then he fixed his eyes on the shining track, 
But his gown was heavy and held him back, 
And the poor old father tried in vain, 
A single step in the flood to gain. 

I saw him again on the other side, 
But his silk gown floated on the tide ; 
And no one asked, in that blissful spot, 
Whether he belonged to the " Church " or not. 

Then down to the river a Quaker strayed ; 
His dress of a sober hue was made : 
" My coat and hat must all be gray — 
I cannot go any other way." 

Then he buttoned his coat straight up to his chin, 
And staidly, solemnly, waded in, 
And his broad-brimmed hat he pulled down tight, 
Over his forehead so cold and white. 

But a strong wind carried away his hat ; 
A moment he silently sighed over that ; 
And then, as he gazed to the farther shore, 
The coat slipped off, and was seen no more. 



266 COMMON SCHOOL ELOCUTION. 

As he entered heaven his suit of gray- 
Went quietly sailing away, away ; 
And none of the angels questioned him 
About the width of his beaver's brim. 

Next came Dr. Watts, with a bundle of psalms 

Tied nicely up in his aged arms, 

And hymns as many, a very wise thing, 

That the people in heaven, " all round," might sing. 

But I thought that he heaved an anxious sigh, < 
And he saw that the river ran broad and high, 
And looked rather surprised, as one by one 
The psalms and hymns in the wave went down. 

And after him, with his MSS. , 

Came Wesley, the pattern of godliness ; 

But he cried, " Dear me ! what shall I do? 

The water has soaked them through and through. ' ' 

And there on the river far and wide. 

Away they went clown the swollen tide ; 

And the saint, astonished, passed through alone, 

Without his manuscripts up to the throne. 

Then, gravely walking, two saints by name 
Down to the stream together came ; 
But„ as they stopped at the river's brink, 
I saw one saint from the other shrink. 

" Sprinkled or plunged? may I ask you, friend, 

How you attained to life's great end? " 
" Thus, with a few drops on my brow." 
" But /have been dipped, as you'll see me now, 



EXERCISES IN GROUPING. 267 

" And I really think it will hardly do, 
As I'm ' close communion/ to cross with you, 
You're bound, I know, to the realms of bliss, 
But you must go that way, and I'll go this." 

Then straightway plunging with all his might, 
Away to the left — his friend to the right, 
Apart they went from this world of sin, 
But at last together they entered in. 

And now, when the river was rolling on, 

A Presbyterian Church went down ; 

Of women there seemed an innumerable throng, 

But the men I could count as they passed along. 

And concerning the road, they could never agree 
The old or the new way, which it could be, 
Nor ever a moment paused to think 
That both would lead to the river's brink. 

And a sound of murmuring, long and loud, 
Came ever up from the moving crowd ; 
" You're in the old way, and I'm in the new ; 
That is the false, and this is the true " — 
Or, " I'm in the old way, and you're in the new ; 
That is the false, and this is the true." 

But the brethren only seemed to speak : 
Modest the sisters walked and meek, 
And if ever one of them chanced to say 
What troubles she met with on the way, 
How she longed to pass to the other side, 
Nor feared to cross over the swelling tide, 

A voice arose from the brethren then , 
" Let no one speak but the c holy men ; ' 



268 COMMON SCHOOL ELOCUTION. 

For have ye not heard the words of Paul, 
* Oh, let the women keep silence all? ■ " 

I watched them long in my curious dream, 

Till they stood by the borders of the stream ; 

Then, just as I thought, the two ways met ; 

But all the brethren were talking yet, 

And would talk on till the heaving tide 

Carried them over side by side — 

Side by side, for the way was one ; 

The toilsome journey of life was done ; » . 

And all who in Christ the Savior died, 

Came out alike on the other side. 

No forms or crosses or books had they ; 
No gowns of silk or suits of gray ; 
No creeds to guide them, or MSS. ; 
For all had put on Christ's righteousness. 

QUESTIONS ON GROUPING. 

1. Define Grouping. 2. What does effective Group- 
ing imply? 3. Why is a knowledge of logic and 
rhetoric serviceable in the process? 4. What two 
classes of elocutionary performance are distinguished by 
grouping? 5. Why is definite instruction in this sub- 
ject so difficult? 6. Of what is the learner reminded 
in connection with the example of Grouping furnished 
by the author? 7. Upon what does much of the 
student's success in Grouping depend? 8. Give the 
rules for Grouping Pauses. 9. Why is not the list 
of rules extended? 10. What is the General Kule for 
Grouping? 



KEY 



Containing the appropriate elements with which the selec- 
tions found in this book and numbered should be read. 

In all dramatic selections, — that is, such as involve per- 
sonation, — the elements are varied and subject to many 
changes. To such the predominant elements only are given. 

The sign ( + ) after a Quality, indicates a tendency 
toward the Orotund if it be a normal quality, or toward 
the Pectoral if it be an abnormal quality; after Force, an 
increase ; after Pitch, an elevation ; after Movement, an in- 
crease. The sign ( — ) after the Quality, shows a tendency 
toward the Pure Tone or toward the Aspirate ; after Force, 
a decrease ; after Pitch, a depression ; after Movement, a 
slower rate. 

ABBREVIATIONS. . 



QUALITY. 



STRESS. 



P."] 


r. Pure Tone. 


R. 


Radical. 


o. 


Orotund. 


M. 


Median. 


PI. 


Plaintive. 


F. 


Final. 


p. 


Pectoral. 


C. 


Compound. 


G. 


Guttural. 


Th. 


Thorough. 


A. 


Aspirate. 


I. 


Intermittent. 


N. 
F. 


Nasal. 
Falsetto. 


M. 


PITCH. 

Middle. 




FORCE. 


H. 


High. 


S. 


Subdued. 


L. 


Low. 


M. 
F. 


Moderate. 
Full. 


M. 


MOVEMENT. 

Moderate. 






R. 


Rapid. 






s. 


Slow. , 



(269) 



270 



KEY. 







Elements Required. 




XY> nf Rplprtinn 








±\\J • Ul UvXvUtiUlli 


Quality. 


Force. 


Stress. 


Pitch. 


Movement. 


1 . . . . 


P. T. 


M. 


R. 


M.+ 


R.+ 


2 










P. T. 


S. 


M. 


L. 


S. 


3 










P. T. 


M. 


R. 


M.— 


M.— 


4 










P. T. 


M.— 


M. 


M.— 


M.— 


5 










P. T.+ 


M.+ 


R. 


M. 


M.— 


6 










P. T. 


M. 


R. 


M. 


M. I 


7 










P. T.+ 


M.+ 


R. 


M.+ 


M.4- 


8 










0. 


F. 


R.&M. 


M. 


M.— 


9 










P.T.&O. 


M. & F. 


R. &F. 


M.+ * 


M. 


10 










0. 


F. 


R. &F. 


M. 


M.— 


11 










0. 


F.+ 


R. 


H. 


R. 


12 










0. 


M.-f 


Th. 


L. 


S.+ 


13 










0. 


M. 


M. 


L.+ 


M. 


14 










PL 


S. 


I. 


L. 


S.+ 


15 










P. 


M. 


M. 


L. 


s. 


16 










P. 


S. 


I. &M. 


L. 


s. 


17 










P. 


M. 


M. 


L. 


S.+ 


]8 










P. 


F. 


F. 


H. 


R. 


19 










P. 


M.— 


M. & I. 


L. 


s. 


20 










G. 


F. 


F. 


M. 


M.+ 


21 










G. 


F. 


F. 


M. 


S.+ 


22 










A.+ 


S.+ 


M.&I. 


L. 


s. 


23 










A.-f 


s. 


F. 


L. 


s. 


24 










N. 


M. 


R. 


M. 


M. 


25 










F. 


F. 


R. 


H. 


R. 


26 










F. & 0. 


F. 


R. &F. 


H. &L. 


M.&R. 


27 










P. 


S. 


M. 


L. 


S. 


28 










P.T. & PI. 


M. &S. 


R. &I. 


M.&L. 


M. &S. 


29 










P. T. 


S. 


M. 


M.— 


M.— 


30 










0. 


S. 


M. 


L. 


S.+ 


31 










0. 


S. 


M. 


L. 


s.— 


32 










P. T. 


M. 


R, 


M. 


M. 


33 










P.T. 


M. 


R. 


M. 


M. 


34 










P.T. 


M. 


R. 


M. 


M. 


35 










0. 


M.— 


M. 


L. 


S. 


36 










P.T. &P. 


F. 


F. 


H. 


R. 


37 










0. 


F. 


M. 


L. 


S. 


38 










0. 


F. 


R. 


M. 


M. 


39 










0. 


F. 


R. 


M. 


M. 


40 . 










0. 


F. 


R. 


M.+ 


M.-+- 


41 










P.T. 


M. 


R. 


M. 


R. 


42 . 










P.T. 


M. 


R. 


M. 


M. 



KEY. 



271 



No. of Selection. 


Elements Required. 


Quality. 


Force. 


Stress. 


Pitch. 


Movement. 


43 .... 


o- 


M. 


Pv. 


M. 


M. 


44 










0. 


M.+ 


R. 


M. 


S. 


45 










P. T. 


S. 


M. 


L. 


s. 


46 










0. 


F. 


F. 


M. 


M. 


47 










P.— 


F. 


F. 


M. 


S.+ 


48 










0. 


F. 


Th. 


M. 


s. 


49 










P. T. 


M. 


R. 


M. 


M. 


50 










P. T. 


M. 


R. 


M. 


M. 


51 










P. T.+ 


M.-f- 


R. 


M. 


M. 


52 










P. T.+ 


M. 


R. 


M. 


M. 


53 










P. T.+ 


F. 


Th. 


H. 


R. 


54 










0. 


F. 


Th. 


H. 


M. 


55 










P. T. 


F.&M. 


Th.&R. 


H. &M. 


M. 


56 










A.+ 


F. 


M. 


H. 


R. 


57 










0. 


F. 


R. 


M. 


M. 


58 










P. T. 


S. 


M. 


L. 


S. 


59 










0. 


S. 


M. 


L. 


s. 


60 










0. 


M. 


R. &M. 


L. 


s. 


61 










P. T. 


M. 


R. 


M. 


M. 


62 










P. T. 


M. 


R. 


M. 


M 


63 










P. 


M. 


M. &F. 


L. 


S 


64 










0.— 


F. 


M. 


L. 


s 


65 










0. 


F.— 


M. 


L. 


s. 


66 










0.— 


S. 


M. 


L. 


s. 


67 










P. T. 


M. 


R. 


H. 


R. 


68 










P. T. 


M. 


R. 


M. 


R. 


69 










P. T.. 


M.+ 


R. 


M.-f 


R. 


70 










P. T.+ 


M. &F. 


R. &Th. 


M.&H. 


M. &R.+ 


71 










P. T. 


M. & S. 


R. &M. 


M. 


M. 


72 










P. T.&F. 


M.-f- 


R. & Th. 


M.&H. 


S. 


73 










P. T. 


M. 


R.&M. 


M. 


M. 


74 










P. T. 


M. 


R. 


M. 


M. 


75 










P. T. 


M.+ 


R. 


M.-f 


M.+ 


76 










0. 


M. 


R.&M. 


M. 


M. 


77 








r±\ t., 

1 A.&F. 


JM.&F. 


All. 


M. & H. 


R.&M. 


78 








i. 


P. T. 


M. 


R. 


M. 


M. 


79 










P. T. 


M. 


R. 


M. 


M. 


80 










P. T. 


M. 


R. 


M. 


M. 



COMMON SCHOOL 

ELOCUTIONARY SELECTIONS. 



A CAREFUL SELECTION OF 



Prose and Poetical Compositions, 



ADAPTED FOR PUBLIC READINGS AND SCHOOL RECITATIONS, 
WITH A KEY CONTAINING THE PROPER ELEMENTS RE- 
QUIRED IN THE DELIVERY OF EACH SELECTION. 



BY I. H. BROWN, 

Superintendent Public Schools, Edwardsville, 111. 



Flexible Cloth Binding, Price, Fifty Cents. 



Sent postpaid on receipt of price. Address, 

I. H. BROWN, 

EDWARDSVILLE, ILL. 



• — 



3Bnf 

Krai 






mm 

LIBRARY OF CONGRESS 

mm I' ii M iij ,;! i 



5n5« 

IBS 




msM she 







m 



